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2 Oct, 2012

Shanty - Howl In The Typewriter - Parabola Hoopshake (CD, Album)

Something like ordinary information which he is to take a fresh look at, imagining that God is telling it to him. It is moreover not surprising that Shah runs into the problem of most people who attempt to speak like God and cant therefore understand why they are not God. Why, in a word, am I subject to suffering, if I am God? They tied him to a tree to contemplate the suffering which they were going to inflict on him; and went away, having decided to throw him into the sea that evening, after they had finished their days work.

But a shepherd, who was not very intelligent, came along and asked the clever rogue why he was tied up like that. Ah, said the rogue, some men have put me here because I will not accept their money. Why do they want to give it to you, and why will you not take it? Because I am a contemplative, and they want to corrupt me, said the rougue; they.

The shepherd suggested that he should take the rogues place, and advised the rogue to run away and put himself out of reach of the godless ones.

So they changed places. The citizens returned after nightfall, put a sack over the shepherds head, tied him up, and threw him into the sea. The next morning they were amazed to see the rogue coming into the village with a flock of sheep. Where have you been, and where did you get those animals?

In the sea there are kindly spirits who reward all who jump in and "drown" in this manner, said the rogue. In almost less time than it takes to tell, the people rushed to the seashore and jumped in. That was how the rogue took over the village. What are the consequences of this theory? Does it define us as human beings? The first helped the people by working for them in a manner they understood. The second was called Lazy because he was a dreamer, as far as anyone could see.

The first son gained great honours in his land. The second obtained from a humble carpenter a wooden horse and sat astride it. But the horse was a magical one. It carried the rider, if he was sincere, to his hearts desire. Seeking his hearts desire, the young prince disappeared one day on the horse. He was absent a long time. After many adventures he returned with a beautiful princess from the Country of Light, and his father was overjoyed at his safe return and listened to the story of the magic horse.

The horse was made available to anyone who wanted it in that country. But many people preferred the obvious benefits which the actions of the first prince provided for them because to them the horse always looked like a plaything. They did not get beyond the outer appearance of the horse, which was not impressive - just like a plaything. When the old king died, the prince who liked to play with toys became, by his wish, the king.

But people in general despised him. They much preferred the excitement and interest of the discoveries and activities of the practial prince. Unless we listen to the lazy prince, whether he has a princess from the Country of Light with him or not, we shall not get beyond the outer appearance of the horse.

Even if we like the horse, it is not its outward shape which can help us travel to our destination. The reader may be beginning to wonder, well, whats the catch? Why such negative thoughts? To what end will someone declare humanity to be inferior to animals? Hallaj suddenly produced one.

Someone said: This apple has a maggot in it. How could a fruit of celestial origin be so infested? Hallaj explained: It is just because it is of celestial origin that this fruit has become affected. It was originally not so, but when it entered this abode of imperfection it naturally partook of the disease which is characteristic here. First, someones concern with celestial apples blinded him to the real benefits of the apple, causing him to protest.

Second, Hallaj reaffirms the celestial origin of the apple, but implies that the knowledge of its origin and possible benefits is hidden. In other words, the real benefits of the apple are its celestial benefits and all real benefits are in fact celestial benefits.

The latter exist only as nice words meant to help us along towards the realization of the former, and the realities are defined by anything but celestialities.

This is the major perennial reason for the cyclic emergence of living teachers. It is they alone who can restore harmony and balance in circles and individuals which have sacrificed these things in the search for continuity and reassurance in the hope of stabilisation.

Were it possible to attain the object in a systematised way, the means to do so would have been enunciated and recorded many thousands of years ago: just as the laws of ordinary material stability and performance are recorded and employed in physics or in applied arts I Trabajo actual en filosofia bahai. Traduccin a Glosa pendiente. III Gramtica sabea, sobre la gramtica de Glosa. IV Gramtica Glosa del primer captulo del Koran. La siguiente frase es del I-Ching, Kompasio Sparnia Compasivo Librador 3.

Rey de Dia de Juicio. Nosotros adoramos Tu y pedimos asistencia de Ti. Na petitio Tu duce in un orto via; via de plu qi Tu gratia Nosotros pedimos Tu guia en el recto camino; camino de muchos quienes Tu agradeces 6.

El Koran tradicionalmente se divide en secciones. La siguiente secuencia de nmeros corresponde al orden de los Surahs en orden cronolgico de acuerdo a Zarkashi, del siglo 14, correspondiendo al orden atribuido por al-Shahristani en el siglo 11 al sexto Imam, Jafar al-Sadiq, quien vivi en el siglo octavo. He agregado el primer captulo al final de esta lista, que de otro modo es idntica a la mencionada por Zarkashi:.

II Lgica sabea, sobre la interpretacion de las correspondencias astrolgicas, y la comprension de lectura en general. El tetractys sabeo, interpretando del eneagrama desde el punto de vista de la filosofia samkhya de la India. IV Libro sobre Ifa, el sistema de adivinacin Africano. La siguiente tabla los relaciona a los arquetipos de la adivinacin Africana, tradicionalmente adscritos a Hermes Trismegisto, y los trigramas del I-Ching.

El origen preciso de estas correspondencias se puede inferir de un estudio detallado del tetractys, y su propsito se explica por la lgica sabea. Krishna habla de los gunas en el captulo catorce del Bhagavad-Gita y ms informacin sobre el resto de estos temas se puede obtener de los enlaces de la filosofia bahai. Una correspondencia entre los arquetipos Africanos y principios de Abdul-Baha sigue a continuacin. A la derecha estn los valores Africanos. Para entender estas relaciones, los valores Africanos se pueden comparar, en sus elementos impares y pares 1 y 0 con instancias positivas o privativas de cada una de las cuatro maneras de obtener conocimiento.

Estas son: 1 los sentidos 2 la razn 3 tradicin 4 inspiracin. Por ejemplo, Puella tiene valores positivos en todos estos menos en tradicin. Por lo tanto, significa que la igualdad a que se refiere no es algo que resulta de la tradicin, sino que depende enteramente de las restantes consideraciones.

Conjunctio, la eliminacin de los prejuicios, depende de la razn y puede ser un valor establecido tradicionalmente, y no depende del todo de la percepcin sensorial o la inspiracin. Como se explica en la pgina del programa para calcular las lecturas, primero debes calcular tu verdadero tiempo con respecto a UTC. Las posiciones de los planetas en relacion a E y N en Bahji, Israel. Este es el centro del mundo. El zodiaco se divide en secciones de 48 minutos cada uno.

Cada seccin se divide de acuerdo a principios del I-Ching como sigue: los primeros 15 minutos son yang joven 01, con un valor de 7 , los siguientes 21 minutos son yin joven 10, con un valor de 8 , los siguientes 3 minutos son yin maduro 00, con un valor de 6 , y los ltimos 9 minutos son yang maduro 11, con un valor de 9. Una vez que se obtiene el valor correspondiente a un planeta, si es un 6 o 7 se le asigna el valor que aparece en las siguientes tablas para obtener los hexagramas resultantes si es un 9 u 8 se le asigna el valor opuesto.

Mercurio 0 Luna 0 Este primer hexagrama corresponde al triagrama , y lo llamaremos el hexagrama Luna. Para efectos de adivinacin es especialmente significativa la linea primera, al ser representativa de la correspondencia planetaria del hexagrama entero.

Venus Luna Jupiter Saturno Marte 0 1 0 1 0. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Mercurio. Para efectos de adivinacin es especialmente significativa la linea tercera, al ser representativa de la correspondencia planetaria del hexagrama entero. Saturno Venus Jupiter 0 1 0. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Venus.

Para efectos de adivinacin es especialmente significativa la linea quinta, al ser representativa de la correspondencia planetaria del hexagrama entero.

Saturno Marte 0 1. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Tierra. Para efectos de adivinacin es especialmente significativo el texto que encabeza este hexagrama.

Saturno Jupiter Marte Venus 1 0 1 1. Mercurio 0 Luna 0 El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Marte. Para efectos de adivinacin es especialmente significativa la linea cuarta, al ser representativa de la correspondencia planetaria del hexagrama entero. Venus Luna Jupiter Saturno Marte 1 0 1 0 0. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Jupiter.

Saturno Venus Jupiter 0 0 1. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Saturno. Para efectos de adivinacin es especialmente significativa la linea sexta, al ser representativa de la correspondencia planetaria del hexagrama entero. El hexagrama resultante corresponde al triagrama , y lo llamaremos el hexagrama Sol.

III Filosofia sabea, sobre el Tarot, sufismo, etc. IV Varias traducciones indirectas del I-Ching al espaol, y extensos comentarios. Estos se interpretan leyendo el texto que acompaa a las lineas, como por ejemplo en la traduccin al Ingls de James Legge. Cada uno de los textos se puede representar como un triagrama y leido en el orden especificado en el grfico.

De acuerdo al principio de lgica matemtica llamado igualdad lgica, si los dos lados de una ecuacin son iguales el resultado es yang 1 y si son diferentes el resultado es yin 0. Esto se puede usar para estudiar la relacin entre los triagramas, estableciendo correspondencias lgicas entre los textos representados por ellos, y este sistema funciona para cualquier tipo de escrito.

La combinacin lgica por la cual los triagramas se combinan para producir otros triagramas es igualmente como los prrafos representados por ellos se pueden combinar para entenderlos. Por ejemplo, cuando el triagrama Luna se combina lgicamente con el triagrama Saturno se produce el triagrama Venus, etc.

Para la lectura esto y su disposicin quiasmtica, tal como se explica al final de esta pgina, parece suficiente, mientras que para la escritura pareceria que se requiere entenderlos como manifestaciones de prakriti, tal como se vi en la astrologa sabea. Lo siguiente busca dar una explicacin cientfica, basada en la serie Fibonacci, de una importante consecuencia de esto, es decir, que todos los escritos se dividen naturalmente en dos tipos distintos. En general, lecturas y escritos se dividen en dos tipos distintos, ya sea que el lector o autor los consideren una busqueda intelectual o la expresion de hechos para el del todo evidentes.

Se puede determinar cientficamente a cual de estos dos pertenece un escrito filosfico. Se exprese explcitamente o no, todos comienzan con una distinccin. Representaremos estos como 1 y 0 respectivamente. Aunque desde el punto de vista de la Naturaleza se pueda expresar que lo que existe aparece de la nada, expresado como 0, 1, es evidente que para todo lo que es dicho la nada o el cero no se pueden entender como un absoluto, sino solo en relacion a lo que se dice que existe.

Por lo tanto, representaremos el principio bsico de la aparicin de la existencia, y todo razonamiento discursivo en relacion a el, como 1, 0. De estos todo discurso procede, y asi del cero aparece un uno, expresado como 1, 0, 1. Pero asi como la nada no se puede expresar como un absoluto, tampoco puede serlo aquello que se dice que existe, una vez comenzado el discurso. Por eso del uno que establecimos anteriormente procede un uno y un cero, y no solamente el cero porque ya existe en relacion al cero anterior, y no nicamente un uno porque entonces se tendra que entender como un absoluto.

La expresion viene a ser entonces: 1, 0, 1, 1, 0. Todos los valores subsecuentes se pueden determinar en base a este mismo principio. Los primeros tres han producido otros ciertos valores, asi que continuamos el discurso en base a lo que el cuarto le aade. Siendo este un uno, y como un uno produce un uno y un cero, la prxima expresion es: 1, 0, 1, 1, 0, 1, 0.

Continuando con el quinto elemento, y siendo este un cero, el prximo valor expresado es un uno, y despues el sexto elemento, siendo un uno, produce un uno y un cero. Entonces tenemos la expresion: 1, 0, 1, 1, 0, 1, 0, 1, 1, 0. Los primeros dos valores produjeron valores nicos, y comenzando con el tercero, produjo dos valores, entonces esos dos produjeron tres, y esos tres producen cinco. Los cinco entonces producen ocho, que puede expresarse como la suma de cinco y tres, los cinco mismos siendo la suma de tres y dos.

El dos se produjo sumando uno y uno, y antes de eso teniamos la expresion del cero. Por lo tanto, como los tres primeros valores producen un nico valor, algunos escritos comienzan con la expresin de este nico valor, y algunos otros expresan asimismo el uno y el cero previos.

Los primeros son los escritos de los intelectuales, y los otros los de los poetas msticos. Entonces para la aplicacin de lgica sabea a la comprension de estos escritos, ser conviente recordar que algunos comienzan con el primer triagrama, Luna, mientras que otros lo hacen con el tercero, Mercurio. Ya que la progresin de unos y ceros no produce ningun patrn repetible, solo hay estas dos posibles formas de todo razonamiento discursivo. Otros escritos como son los de los cientificos o escritores de fantasias dependen de la abilidad de la mente para recordar cosas que aparecen juntas unas a otras, y as presentan unos ceros y unos en un intento azaroso de tratar de retener la atencin del lector, pero no de acuerdo a ningun principio de lgica.

Un ejemplo de la forma de lectura o escritura propuesta se dar a continuacin. Si el tercer prrafo de una escritura se considera como el triagrama Mercurio, se manifestar en contraste a lo expresado por el stimo prrafo, representado por el triagrama Jupiter, expresandose en lo expuesto en el quinto prrafo, representado por el triagrama Saturno.

Pero si fuera un escrito intelectual, los prrafos tercero y stimo se representarian, en vez, por Saturno y Luna respectivamente.

El onceavo prrafo seria igualmente Saturno, y la Luna y Saturno producen Venus, el cual sera el color del octavo prrafo. Si fuera un escrito mstico, el onceavo prrafo sera Mercurio, y Mercurio y Jupiter no producen Venus. Por esta y otras formas similares se puede determinar si el escrito filosfico es el de un intelectual o el de un mstico. Por ejemplo, el noveno y decimotercer prrafo serian Luna y Saturno en escritos msticos, mientras que serian Mercurio y Jupiter en los intelectuales, y el primero de estos producira el dcimo prrafo Venus, etc.

Desafortunadamente, algunos escritos han sido cambiado por sus editores, y la division. En este caso es necesario usar la propia intuicin para determinar donde acaba y donde empieza un prrafo. Si esto no es posible, es porque nos falta informacin de lo escrito, o determinamos que el escrito no vale la pena. El primer prrafo usado en lgica sabea es siempre el primero en el texto, pero un texto de al menos dieciseis prrafos se interpreta como un quiasmo.

En otras palabras, el segundo prrafo usado en lgica sabea seria el nmero dieciseis o un mltiple de dieciseis, el tercero a interpretar seria el segundo prrafo, y el cuarto el penltimo del multiple de dieciseis, etc. Si el texto es intelectual que comienza con el tercer prrafo entonces eso debe tomarse en cuenta al buscar el segundo prrafo a ser interpretado, y en el caso de un texto de dieciseis prrafos seria el doceavo, porque doce seria el tercero antes del ltimo, considerando que el catorce seria en realidad el dieciseis.

Ningn quiasmo tendr mas de 80 elementos, y todo despues del 80 se interpreta como un nuevo quiasmo. Notese que los escritos intelectuales terminarian el primer quiasmo con el 76 y comenzarian el prximo con el Si el prximo tiene menos de dieciseis prrafos, puede ser considerado como parte de un quiasmo que incluye el anterior.

Por ejemplo, para un texto de 20 prrafos, los prrafos 17 - 20 pueden considerarse como la segunda parte de un quiasmo de 32 prrafos, lo cual los relacionaria con los prrafos 13 - Aqui estan algunas otras asociaciones de los triagramas:.

Relacion de las lineas con el calendario bahai Grandeza, Luz, Misericordia 4,5,6 Soberania, Dominio, Sublimidad 17,18, El conocimiento No tiene fin Nubes otro que el conocedor y lo conocido El conocido otro que el conocedor y Tiene fin el conocimiento El Tiene fin conocimiento.

El conocimiento No tiene fin Espejos identico al conocedor y lo conocido El conocido idntico al No conocedor y comienza el conocimiento El conocido No comienza. En relacin a todo lo anterior, seria sabio notar que, si pudieramos considerar a todo como proviniente de lo que no tiene comienzo, tampoco habria final, porque su conocimiento no podria tener un comienzo.

II Chart, un programa para calcular lecturas astrolgicas del I-Ching escrito en el. Ha sido probado en el sistema operativo Linux llamado Debian, y puede que sirva en otros sistemas Linux.

Abra este archivo en su propio directorio, y teclee. En modo interactivo, con opcin "-i" deber poner la fecha en formato dia. Vea las indicaciones abajo para calcular el tiempo UTC. Abra este archivo en su propio directorio, y teclee chart. Ponga la fecha en formato dia. Este es el tiempo universal que se mantiene para todo el mundo en Inglaterra, y desde donde se calculan las zonas de tiempo. Para lecturas mas precisas, ayuda saber el verdadero tiempo UTC.

El tiempo varia segun UTC por 4 segundos cada minuto zodiacal, o un minuto cada 15 minutos zodiacales, o 4 minutos cada grado zodiacal. Tambin hay que saber la longitud.

II El sitio web de Glosa. Se traduce literlmente as: Es una lengua que tu no sabas que era existente. La frase "que tu no sabas que era existente" puede decirse que modifica a "lengua" y as en el equivalente en Glosa podramos poner el signo de puntuacin Glosa ";" vea el enlace arriba despus, pero tambin podra ser expresin de una palabra funcional en clculo lambda.

Usando la sintaxis de Scheme, un lenguaje de cmputo basado en lambda, podramos expresar las otras frases modificantes en relacin a las palabras que modifican, as: Es u lingua tu no ski pa existe Pero como esto parece un poco raro, podramos usar las siguientes equivalencias: ".

Tambin debe notarse que la sintaxis usada arriba no corresponde precsamente a la sintaxis de lenguaje de computacin del lenguaje de programacin Scheme ni al clculo lambda clsico.

Difiere de un contexto computacional en que todos los elementos de clculo en un contexto definitorio son funciones y no variables o constantes literales. Hay tres contextos: el definitorio, el computacional, y el aplicativo.

Este ltimo depende enteramente de el antepuesto, y de. III El tetractys, interpretando el eneagrama desde el punto de vista de la filosofia samkhya de la India. Parte del ms fuerte ridculo, aun mantenido en algunos crculos, al que han sido sometidos los Sufis, se debe a que han enfatizado en sus clsicos los peligros de obsesiones implantadas en gente, y a que han sealado la naturaleza indeseable de la indoctrinacin y emocin al ser confundidos con dones espirituales, para el horror de los entusiastas religiosos.

Solo en las ltimas dcadas otras personas han sabido mejor que los clrigos. Para el Sufi, estas confiadsimas y a veces desbalanceadas personas pueden causar mas problemas que los escpticos.

Los creyentes crean un problema mayor porque, frustrados de no obtener fcil conocimiento mgico, pueden con notable rapidez volverse a aquellas organizaciones que ya sea bien intencionadas o no les parecen a ellos que pueden satisfacer su sed por lo desconocido o lo inusual; o que ofrecen atajos. No se ha de negar que nosotros usamos esta frase, pero siempre con calificativos: Adeptos, han, sin embargo, ideado atajos a una adquisicin de un conocimiento de Dios.

Hay tantos caminos a Dios como hay almas seres de hombres. Notas: 1. Junaid de Bagdad m. Y tambin parecera que se subscribe a la nocin de que organizaciones bien intencionadas existen y proporcionan fcil. Dado tal comienzo en la primera parte de El Camino del Sufi, no es de sorprender que en el resto del libro Shah presenta dichos que se supone actuan como revelaciones directas de Dios en la mente del lector.

El hombre fue hecho para el propsito de aprender. El razonamiento en s nos dice que los animales evidencian estas cualidades sin razonar sobre ellas. As que a menos que la cita nos diga la razn por la que el hombre aprende estas cualidades, o si las aprende del todo, supondramos que l tambin las evidencia sin razonar, o por sus propias razones particulares, lo cual en efecto sera realmente un impedimento para l. Sera, en efecto, inferior a aquellos animales. La otra explicacin es que esto se dirige a alguien que es susceptible a aceptar la necesidad de dichos que aparentemente provienen de Dios Mismo, de tal manera que la frase El hombre fue hecho para aprender quiere decir algo como Existe un ser llamado hombre que fue hecho para aprender.

Algo como informacin ordinaria que l deber mirar nuevamente, imaginando que Dios se lo est diciendo. Y an no es de sorprender que Shah se tropieza con la dificultad de la mayoria de los que tratan de hablar como Dios y que por lo tanto no pueden entender por que ellos no son Dios.

Por qu, en una palabra, soy sujeto a sufrir, si soy Dios? Lo ataron a un rbol mientras ideaban el sufrimiento que le iban a infligir; y despues se fueron, habiendo decidido tirarlo al oceano esa tarde, despues de terminado su trabajo.

Pero un pastor, que no era muy inteligente, pas por all y le pregunt al inteligente villano porque estaba amarrado de esa forma. Ah, dijo el villano, algunas personas me han puesto aqui porque no acepto su dinero.

Porqu quieren dartelo, y porqu no lo tomas? Porque soy un contemplativo, y quieren corromperme, dijo el villano; son hombres sin Dios. El pastor sugiri que l debera tomar el lugar del villano, y le sugiri al villano que debera correr y ponerse a salvo de los hombres sin Dios.

As que cambiaron de lugar. Los ciudadanos arribaron despues de anochecer, pusieron un saco sobre la cabeza. La maana siguiente se asombraron al ver al villano entrar a la aldea con un rebao de ovejas. Adonde has estado, y de donde obtuviste esos animales? Mark T. The family sister Faith, brother Linton moved to Salem in In his younger years Mark performed with the Salem Singers and recorded a few albums gospel music Mark always enjoyed music and would sing or hum along to any song on the radio over the groans of family trying to listen to the songs being played Elvis was a favorite.

Another favorite was watching Godfather marathons and Jeopardy every evening. He touched and improved the lives of countless people and cared about each and every one of his patients.

So long as such variations please the inner ear, the inner sense of word music, they are aids. The natural poet will always make his own patterns, knowing that poetry is self-created and not devised by rigid rules. It may be described as a trochee with an extra unaccented syllable added after it. Here is an illustration: Cannon to right of them, Cannon to left of them, Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they fought, and well.

Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they fought, and well. Once the technique of scansion is mastered, the poet must be his own court of last appeal upon it. These feet become excessively monotonous in long poems, though they may be used with advantage in brief lyrics. Variations in Metric Verse The use of variations in metric verse is widespread.

The development of every poet of importance, whose technique did not begin and remain rigid and crystallized, has been in the direction of more and more variety.

This is displayed impressively by the development of Shakespeare and of Keats. Little such development is shown in the technique of more rigid minor poets. A few examples must suffice. The flow-1 er-de-luce being one! O, these 11 lack. The Winter's Tale, William Shakespeare. One of the most praised lines in Keats is: Robs not I one light seed from the feath-1 er'd grass.

Hyperion, John Keats. Keats has at least one line, in the same pattern, consisting of five trochees: Thea! Where is Saturn?

Robert Frost has such masterly lines as the following, in the same five-foot iambic pattern: And spread her apron to it. She put out her hand. Strange how such innocence gets its own way. The Black Cottage, Robert Frost. And the saw snarled and rattled, snarled and rattled. But the hand was gone already. In this last line the monosyllable So is followed by a pause that takes the place of a foot and a half.

One of Frost's most triumphant variations is: Little—less—nothing! And that ended it. Alison Gross, Old English Ballad. Where the chaf-1 finch sings on the or-1 chard bough. Home-Thoughts, from Abroad, Robert Browning. So numerous are the variations to which the metric pattern in English can be adapted, to the greater naturalness of the poetry. Accent Pattern Instead of Metric Coleridge, in one poem, abandoned the formal metric foot altogether, in favor of a rediscovered Old English method of letting the line pattern consist of a definite number of accents, with any number of unaccented syllables, occurring in any order.

And the owls have awak- ened the crow- ing cock. I lb-1 whoo! How drow-1 sily it crew. Christabel, Samuel Taylor Coleridge. This follows the same method of accent versification.

Walter de la Mare's most famous poem is built around a pattern of three accents to the line, as the second and fourth line below indicate; he uses unaccented syllables where he pleases: But on-1 ly a host of phantom listeners That dwelt in the lone house then, Stood lis-1 tening in the qui-1 et of the moonlight To that voice from the world of men. The Listeners, Walter de la Mare. Other modern poets have done as much, or more. Variety within uniformity.

Blank Verse and Free Verse Blank verse means simply unrhymed verse. Any line pattern, if unrhymed, is blank verse. Heroic blank verse is unrhymed five-foot iambic poetry or verse. Most of Shakespeare is written in heroic blank verse. Heroic couplets, beloved of Dryden and Pope, are pairs of five-foot iambic lines rhymed with each other.

Free verse may be rhymed or unrhymed, although it is usually unrhymed, since rhyming is an even more unnatural convention of poetry than meter; and the poet who has abandoned formal meter will hardly, as a rule, still use the device of rhyming. Free verse is verse without a metric pattern, but with a wider pattern than meter allows. It still tends toward regularity, rather than variety, and the final court of appeals as to whether any example should be classified as poetry or prose from a standpoint of content, or as verse or prose from a standpoint of technique, is the individual poet or reader himself.

To many readers, the following are all poetry: Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God.

Thou turnest man to destruction; and sayest, return, ye children of men. The Ninetieth Psalm. But, in a larger sense, we cannot dedicate—we cannot consecrate—we cannot hallow—this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or to detract. The world will little note, nor long remember, what we say here; but it can never forget what they did here. The Gettysburg Address, Abraham Lincoln.

Out of the cradle endlessly rocking, out of the mockingbird's throat, the musical shuttle, out of the Ninth-month midnight, over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, down from the showered halo, up from the mystic play of shadows twining and twisting as if they were alive.

Walt Whitman used the artificial line division of poetry to present the third of these selections; the King James version of the Bible and Lincoln used the natural line division so familiar in the printing of prose. Little or nothing is added by the artificial line division: Out of the cradle endlessly rocking, Out of the mocking-bird's throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, Down from the showered halo, Up from the mystic play of shadows twining and twisting as if they were alive.

It is poetry, to many, in either form; and the first form is the more natural and readable. Scan the Whitman selection, or any of the others, and the tendency toward regularity of rhythm becomes apparent: a wider regularity, perhaps only an up rhythm or a down rhythm, but still inevitably there. This distinguishes free verse from prose, from the technical point of view.

At times writers of free verse let their lines reach surprising lengths, no matter how lovely the music is: thus Sandburg,. Cool Tombs, Carl Sandburg. Again the lines can be extremely brief: It sits looking over harbor and city on silent haunches and then moves on. Fog, Carl Sandburg. The free verse writer devises his own line-division pattern. This form, eliminating the devices of meter and rhyme, calls on the poet to avoid the inconsequential and the trivial, and to write down only his important utterances.

If rhyme is a shelter for mediocrity, as Shelley wrote in his preface to The Revolt of Islam, free verse is a test of the best that the poet has in him. Line Length in Verse Oliver Wendell Holmes, himself a doctor, advanced the theory that line length in verse marked physiologically the normal breathing of the poet. In other words, a breath should be taken at the end of each line; and the line should be no longer than the poet's ability to hold his breath.

No artificial line division is used in prose, to indicate where a breath should be taken. There is no greater reason for artificial line division in poetry. It still remains true that the long Greek lines, each consisting of six feet, called for huge-breasted warriorbards to chant them; that the norm of English verse, the five-foot iambic line, indicates a lesser chest expansion in the typical English poet; and that the briefer modern tendency shows a further deterioration in the chest expansion of poets.

Where poetry consists in end-stopped lines—lines with a natural pause at the end of each line—there is more reason for an artificial line division. Shakespeare began so; many poets never get beyond this, in the main. But when we come to poetry like— We are such stuff As dreams are made on, and our little life. A sonnet set up in this manner appears: O bitter moon, O cold and bitter moon, climbing your midnight hillside of bleak sky, the earth, as you, once knew a blazing noon. Night brings the silver hour when she will die.

We shall be cold as you are, and as bitter, icily circling toward a tepid fire, playing at life with our deceitful glitter, past joy, past hope, forever past desire. Yet still the forest lifts its leafy wings to flutter for a while before the chill. And still the careless heart is gay, and sings in the green temple on the dusty hill. And the gulls tumble, and the homing ships peer for the harbor. And the sand drips. The Flight of the Eagle, v, Clement Wood. In an earlier volume, this had appeared with the usual line division of poetry as ordinarily printed.

Rhyme can occur of course in ordinary prose, although this usage is extremely rare. Where the rhythm of verse is used, as in the sonnet quoted, it is possible for poets to use the line and paragraph division usual to prose, if this is desired. Common Name, or Explanation A verse containing one metrical foot. A verse containing two metrical feet. A measure consisting of two metrical feet; a ditrochee. A verse containing three metrical feet.

A verse containing four metrical feet. A verse containing five metrical feet. A verse containing six metrical feet. A verse containing eight metrical feet. A strophic verse of two lines, usually called a couplet today. Three unaccented syllables Three accented syllables Accent, unaccent, accent Unaccent, accent, accent Accent, accent, unaccent Two trochees regarded as a compound foot Accent, unaccent, unaccent, unaccent Accent, unaccent, unaccent, accent Three accents and one unaccent: of the first, second, third or fourth class, depending on the location of the unaccented syllable OTHER TERMS.

Explanation Verse not defective in the last foot; verse complete in its number of syllables. The lighter or unstressed part of a foot, especially in quantitative verse; later, the accented syllable of a foot. A break in a verse caused by the ending of a word within a foot. A masculine caesura follows the thesis or stressed part of a foot. A feminine caesura follows the arsis or caesura comes after the third half foot, which means in the second foot; a penthemimeral caesura, after the fifth half foot; a hepthemimeral caesura, after the seventh half foot; and so on.

A bucolic caesura, in dactylic hexameter, is a caesura occurring in the fourth foot, especially in pastoral poetry. Verse lacking a syllable at the beginning, or terminating in an imperfect foot. The break caused by the coincidence of the end of a foot with the end of a word. Bucolic diaeresis, a diaeresis occurring in the fourth foot, especially in pastoral poetry.

The extension of the sentence beyond the limitations of the distich. Metrical stress. The heavier or stressed part of a foot in classical prosody, especially in quantitative verse; later, the unaccented syllable or syllables of a verse. Rhyme is the identity in sound of an accented vowel in a word, usually the last one accented, and of all consonantal and vowel sounds following it; with a difference in the sound of the consonant immediately preceding the accented vowel.

Rhyme deals exclusively with sounds and has nothing to do with spelling. The rhyming dictionary terminating this book is strictly phonetic and therefore logical and useful. Correct rhymes may be spelled alike: ate, plate, mate, abate, syncopate. They may be spelled differently: ate, bait, straight, freight. In this case the spelling is immaterial.

So called "eye rhymes"—that is, words spelled alike that look alike but are pronounced differently—are not rhymes at all; they slip into versification, if at all, as consonance, which will be discussed later.

That is, the incorrect rhyme earth, hearth so popular among English versifiers, is no more a rhyme than the following sets of words identically spelled, but pronounced differently:.

Identities do not rhyme, no matter what the spelling is; since the preceding consonantal sounds must differ. The following are identities, and not rhymes: bay, obey bare, bear, forbear laying, overlaying ability, possibility, probability. Sounds almost alike, after the identical accented vowel sounds, do not rhyme. These are properly called assonance and have not succeeded as a versification device in English. Examples are: main, game, reins, lamed hate, shape, played feed, sleet, creep sandwich, orange, lozenge childhood, wildwood Norfolk, war talk anguish, Flatbush silver, deliver You can find examples of incorrect rhymes in poems by many accepted poets, and in a much higher percentage of popular songs and newspaper versification.

Two of the above examples were taken directly out of songs nationally popular. Slovenly rhyming is one of the sure signs of mediocrity in versification. Learn correct rhyming first; then, if you wish to break the rule you understand, that is your privilege. The language's poverty in rhyming has caused the following almost-rhymes to become widely accepted: given, Heaven; bosom, blossom; shadow, meadow; God, road; war, more; bliss, is; was, grass.

Among widely used "eye rhymes," which are not rhymes at all, but mere identities in spelling, are:. Bosom-blossom, was-grass are combinations of consonance and assonance; bliss-is is assonance; the others in the first list are consonance. The first three pairs in the second set are acceptable consonance; real, steal is an attempt to rhyme a two-syllabled word with a one-syllabled one and has no justification from any standpoint.

Use consonance or assonance purposely, if desired; but always know that this is not correct rhyming. If the poet is tone-deaf as to sounds, it is best to rely upon the phonetic symbols above each group of rhyming words in the rhyming dictionary that terminates this book, or upon dictionary markings. Many people cannot distinguish the obvious difference in sounds between this pair of words, which do not rhyme: north, forth.

Take away the th sound, and many people still hear no difference between this pair of words, which do not rhyme: nor, fore. Take away the r sound, and some people still hear no difference between this pair of words, which do not rhyme: gnaw, foe.

If in doubt as to such off-rhymes, follow the phonetic markings. A third common error in rhyming comes from such mispronunciations as dropping a terminal -g. These do not rhyme: martin, parting, herding, burden. They may be rhymed colloquially, that is, in quoted words, as follows: martin, partin', herdin', burden,.

But unless writing colloquially, do not use such incorrect rhymes as those given first above. A similar error comes from ignoring the r sounds, which causes such off-rhymes as: court pronounced cou't, like coat , boat Lord pronounced Lawd , gaud. Rhymes can be made of two or more words. Here are examples of perfect rhymes: satin, flat in. Quentin, went in. Such couplings are more appropriate to light and humorous verse than to serious poetry.

Rhyming must always give the effect of unobtrusive naturalness, or it fails of its proper effect. Robert Browning is in a class by himself in fantastic many-word rhymings and near-rhymings, often in serious verse: The wolf, fox, bear and monkey By piping advice in one key.

This is not a rhyme, because monkey is, phonetically, a rhyme sound for ungki, or at best ungke; and one key is, phonetically, a rhyme sound for unke, the unguessed g sound in the first spoiling it as a rhyme. Again, in the same poem, he uses this fantastic coupling: While, treading down rose and ranunculus, You Tommy-make-room-for-your-uncle-us!

Ranunculus has its rhyme sound ungk'-u-lus; the next line, ungk'ool-us: a minor difference, but enough to spoil the rhyme. Much closer is Byron's celebrated couplet: O ye lords of ladies intellectual, Inform us truly, have they not henpecked you all? Don Juan, I, xxii, Lord Byron. The unaccented last syllable of the first line differs from the unaccented last syllable of the second with the difference of a and 6. Barham furnishes many perfect many-worded rhymes, such as: Should it even set fire to one's castle and burn it, you're Amply insured for both building and furniture.

Samuel Hoffenstein furnishes a splendid example: You haven't the nerve to take bichloride; You lie up nights till you're gaunt and sore-eyed. In using such rhyme combinations, it is wise to put the combination with the inevitable sound first; bichloride; following this with the combination of words to rhyme with it.

Thus W. Gilbert, a master rhymester, uses in this order: monotony, got any. In light and humorous verse, such rhyming cleverness is a crown; in serious verse, if used sparingly, it is permitted. Function and 'types of Rhyme In serious verse, since obvious cleverness defeats the appeal to the serious emotions, rhyming should be unobtrusive. To have your rhyme words merely conveniences demanded by your rhyming pattern is one of the chief faults of rhymed verse.

Rhyme is a potent shaper. Once you have written down a line of verse or poetry, and intend to have the next line or the next line but one rhyme with it, your choice of terminal words for the rhyming line is limited by the limited rhyming resources of the language.

If a poet commences, October is the wildest month,. Assuming that the first line's rhyming word has certain rhyming mates, the choice of terminal rhyme words for the rhyming line is limited to these; and the direction of the poet's thought and its expression must be deflected into some natural use of one of these rhyming mate words.

Rhyming is a brain stimulant and may even spur on the poetic imagination. The meaning of the planned poem may have been clear in the mind; but its expression, if rhyme is used, must work in limited fields, and only the master achieves in these that finality of natural utterance which is one of the charms of great poetry. To the authentic poet, especially the living poet, there is no such thing as poetic license: the right to warp and twist the language out of its natural order or grammar, to suit the exigencies of rhyme.

Browning continued his Tommy-make-room-for-your-uncle-us couplet with this: Quick march! I would not for worlds be your place in, Recipient of slops from the basin! What Browning meant, in the direct natural order, was: Quick march!

Even this is unnatural; the real order would be "Quick march! Let us suppose that inspiration worked with him in the erratic fashion quoted above. Then would be the time for the critical sense to come in, and rigorously to eliminate all such evidences of poetic license—inversions, ungrammatical constructions, and the like. Not one has a place in poetry, more than in speech.

This is a rigid rule to lay down. It is not any individual's rule. It is the rule that Shakespeare followed when he wrote: Tomorrow, and tomorrow, and tomorrow.

Creeps in this petty pace from day to day. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more; it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

This was written some three hundred years ago. There is not an obsolete or even archaic word in it, not a strained construction, not an inversion or instance of ungrammatical poetic license. The quotation given in fragmentary form from Browning, which includes ranunculus, homunculus, skoramis, and countless inversions, was outdated long ago: the words of Shakespeare live.

The best of Burns, of Shelley, of the Keats of Hyperion, of the best among the modern poets, always follows this rule: no inversions, no archaisms, no poetic license. This is the price of a chance for wide poetic greatness. To return to the strict technique of rhyming, one-syllabled rhymes are called single or masculine rhymes. Examples are: we, flee, sea, apostrophe, harmony, disk, tamarisk, odalisque, fling, sing, carolling.

In the last pair of the first grouping, and the third rhymes in the others, note that only a secondary accent falls on the rhyming syllable. This is enough. A rhyme may be more smothered, if read naturally— a modern variation in which it may be said that an accented syllable is rhymed with an unaccented one: such as anguish, wish; ring, wedding.

Used sparingly, this is effective. Two-syllabled rhymes are called double or feminine rhymes. Examples are: ocean, motion, devotion, traded, aided, play did. Three-syllabled rhymes are called triple rhymes. There may be rhymes, especially in light verse, of four or even more syllables.

A rhyme like the one last given shows iittle cleverness, since it is merely "rest, best, palimpsest" with the phrase "of it" added.

The lack of cleverness makes it more suitable for serious poetry than for light verse. End rhyme is used at the end of the lines. Here is an example, the rhyming words being italicized, and the rhyme scheme indicated by the corresponding numerals: Gather ye rose-buds while ye may, 1 Old Time is still a-flying; 2 And this same flower that smiles today, 1 Tomorrow will be dying. Rhyme 1 is a single or masculine rhyme; rhyme 2 is a double or feminine rhyme.

Internal rhyme is rhyme used within the line, to give added effectiveness by a closer repetition of the rhyming sounds.

We weave in the mills and heave in the kilns. We sieve mine-meshes under the hills, And thieve much gold from the Devil's bank tills.

To relieve, O God, what manner of ills? Here year-long rhymes internally with drear-long; weave, heave, sieve, thieve and relieve are further internal rhymes; and mills is an internal rhyme to kilns and the three next end rhymes. Undesirable Rhymes Incorrect rhymes, or rhymes constructed by straining the natural expression into inversions and grammatical perversions, excused on.

Quite as undesirable are rhymes which are hackneyed and overworked, such as: kiss, bliss. These are unobjectionable technically. But they have been so used and overused by other poets that the only excuse for them today is use in an entirely new manner. It is the fact that most rhymes have been comparatively overworked that has caused the tendency toward consonance, which is such a marked feature of modern poetry, from Emily Dickinson onward.

Alliteration Alliteration, like rhyme, is a repetition of sounds. But the sound repeated is only the initial consonant of syllables or words. This was one of the major devices of Anglo-Saxon poetry, which did not use rhyme.

The Raven, Edgar Allan Poe. If not overused, this is highly effective. Dolores, Algernon Charles Swinburne. Where there is no sense of unnaturalness in the repetition of alliterative sounds, it may be successfully employed.

Assonance Assonance, called also vowel rhyme, consists in the identity of the final accented vowel sound, with dissimilarity in the subsequent consonantal and vowel sounds.

It was used in Provencal and Old French poetry, and is still used in Spanish. George Eliot tried unsuccessfully to introduce it into English, the assonances being italicized: Maiden crowned with glossy blackness, Lithe as panther forest-roaming. Long-armed naead, when she dances. Thursday, December 1, You are sick of hearing about. Here's to all of us! Who knew the Divine Comedy was still poking their walking stick at it after all these years.

The whole of 's Bang Goes the Knighthood is a sophisticated wonder. This one is a winner too. I knew it was coming, but he found it before I did. And with that, I can officially share the cover art for those of you I haven't shown it to on my phone. Y'all know about Epic Soundtracks, right? Epic Soundtracks, "Everybody Else is Wrong" It's our last day of class today, and the final teams are doing their presentations and I'm really proud of the work they've done and look forward to one day hitting some or all of them up for a job when they are running the show.

Wednesday, November 30, Toot the horns, me! Then, four pages in, the book is included as well! Top of the world! Toot the horns, me! I hope I got the bit about packets right. The wrecking ball always completes its parabola. I was thinking about Felt , the worlds greatest cult band, and the phrase "forever breathes the lonely word" and the crematory smoke in my Cohen piece and where words go when they leave your mouth or the printers or in a digital sense, the submit button.

Then I was thinking about what a perfect little world "Declaration" is. Each act has a tentacle in the circle of the mystic.

Surely that is something we can all get behind. Korpiklaani, "Surma". Monday, November 28, I need to scratch my head. I talked to Coco a couple of times but never in a professional hipster-interfacing capacity and somehow never saw him perform, which I will now forever regret. Ken Russell's films were a revelation to me in my early film snob days.

They possessed a Felini level of brittle charmed ennui with a late night Skinemax level of depravity, all wrapped up in absurd magic. It was the kind of film practice that you couldn't fence in as "good" or "bad" but more just "wow. More pointedly, the train scene where Richard Chamberlain and Glenda Jackson don't get it on in the most hallucinatory manner.

Ken operates on a weird plane at the corner of Fellini and Pee Wee Herman, with a little Argento thrown in for flava, in a tea-and-crumpets English pomp stylee. It opened with a dream sequence with Ken wearing these square sunglasses that had the word "falling" built into the frame. He was seated in a Lawrence Welk-vivid garden gazebo, where a dowdy English soprano is lolling out a sea shanty.

He awakes, plays some 78's for his dog, and then announces, pushing his face through a bouquet of flowers, that he was going to go in search of folk music among the folk.

He stumbles through some Teletubbies countryside to a pub, where a metal outfit named "So What" appears and breaks into song. Throngs of English youth appear from the bushes to do what seems a modified frug around them. Ken then has a drink with the guitarist and follows him home, where he poses in front of a corvette festooned with a rebel flag license plate and sings a country-ish song. Then, here come the fruggers again This was all in the first ten minutes. And I fear that I'm not making it sound random enough.

After the first commercial break, it seems that he's calmed down and is now documenting actual folksingers, sadly sans frug. Eventually it has Fairport Convention frolicking in a church under a disco ball, but nothing else so far is up to par with the opening sequence.

Ken Russell has a particular talent for walking that fine line between the perverse and the asinine, and this BBC budget affair captures it better than anything I've ever seen of his. Somebody asked me if I was serious when I said I actually liked Lulu , the almost categorically panned recent collaboration between Lou Reed and Metallica and my answer can be found at the end of the Ken Russell piece.

It walks a line between perverse and asinine. It is a risky flailing of artistic emotion from a group of people who have long paid their dues, crafting personae. Sure, Lulu is head scratcher, but good. I need to scratch my head. I wish more art made me scratch my head rather than does the absurdity of the news. I wish there were more guys like Coco around about whom I wondered if the voodoo thing was for real than demon-scared politicians about whom I'm compelled to ask the same question.

I wish there were more Ken Russells steering the vast resources of the BBC into the choppy waters of the puzzling. The more I listen to music of the 70's, like even the hugely popular music like Chicago, I'm struck how weird it all is. How surprising things were. The world could fall apart any minute back then, just like it can now. Saturday, November 26, "I might enjoy falconry". He can talk about the first Apostlic King of Christian Hungary as easily and normally as we might allude to so-and-so from the office.

Plus, I am a sucker for any book where someone walks from one place to a distant other - in the is case, from Holland to the Danube; this book details the first half of a trek to Constantinople at the eve of World War II. He captures the all-encompassing hallucinatory intake of a walk.

He leaves no little musings out, which can make a reader glaze over pretty quickly. It did so to me enough times that I had to thumb back plenty of times just to remember where we actually were in the trip. So, if the destination and the expediency of getting there are the key points to your travelling, this book is not for you. If you need to grasp everything that is said in a conversation, read elsewhere.

But, if you believe that life's literal and literary journeys are like auditing an infinitude of brilliant lectures, and that each traveller arrives at their own destinations on said journeys, then this will beckon you down the road. There is a great joint profile of Fermor and similar writer Bruce Chatwin in the Decembe Harper's that led me to his cuious doorstep.

View all my reviews Maya is immediately deep into this anime series she saw at a friend's house called Black Butler. I am relieved that it is not about the exploits of an wisecracking African-American servant, but is instead a Victorian, Jack the Ripper mystery being solved by a moody boy with hair dangling over one of his giant glistening eyes and a tall Anime-English unflappable butler who wears all black.

The best part in each episode is the 3-second intermission. Black Butler intermission. Like, that's it. It us actually two little scenes with the weird clarinet ditty, but still only a few seconds. Is it a meta-intermission, or do they just have like a flash screen when they originally appeared n TV in Japan.

Does anime appear n TV in japan first? The main thing I like about anime is that I don't really get it. Otherwise, it's not my bag. Maya has watched about 20 episodes of it and is right now indoctrinating a friend and about to corrupt another as soon as they get here. I am pecking this out on an Android tablet I have for work, partially so I can surrender my iPad to them so they can watch 20 more episodes on Netflix later, and partially because I am under the iSpell and am curious how life is hunched over an Android.

After the robot wars and post the Age of Man, we will be all too familiar with such a feeling. It's not so bad; some things are better, like the Spotify layout is better and I like how they do the text cursor, but overall it is still a little counterintuitive. Immediate understanding is how the iPad gets you. It's like you muse, "I might enjoy falconry" into the air and suddenly you have this gorgeous falcon looking badass on your wrist, awaiting your silent command.

Android is a little more like a cool remote control car from Radio Shack. Plus, the whole design ethos is very Space Mountain on Android vs. I'm even boring myself with this. I'm going to embark on a more meaningful product comparison as displayed below.

Friday, November 25, the curvature of the earth. Wednesday, November 23, Thanksgiving is exciting! Tuesday, November 22, Look at the pretty flower! I did the NYT puzzle everyday. A student just showed up.

2) Click en Programs (All Programs si est usando Windows XP). 3) Click en Accessories. 4) Click en Command Prompt. 5) Si extrajo a la carpeta "My Documents" teclee lo siguiente: cd "\Documents and Settings\nombredeusuario\My Documents" donde nombredeusuario debe ser reemplazado con el nombre de usuario que us para ingresar a Windows.

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8 thoughts on “Shanty - Howl In The Typewriter - Parabola Hoopshake (CD, Album)”

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