1001 Ways to Die – (2) Jacqueline Du Pre, Cellist

Δευτέρα, 31 Ιανουαρίου, 2011

Today I continue with the second part of the series, dedicated to the British cellist Jacqueline du Pre.

She was born in 1945 and considered one of the best cellists ever.

Her life was cust short by multiple sclerosis.

Jacqueline du Pre's Grave in the Golder's Green Jewish Cemetery, London

Jacqueline du Prι learned to play the cello from her mother Iris Greep, a piano teacher at the Royal Academy. Jacqueline was performing in BBC concerts when she was only twelve years old. Her recording with the London Symphony Orchestra of the Elgar Concerto in 1961 made her internationally famous. She played a Stradivarius from 1712 called “The Davidoff” that was given to her by an admirer. On 14 May 1965 she debuted in the United States by playing the Elgar Concerto at the Carnegie Hall in New York.

‘She was immediately acclaimed for her instinctive feeling for style and breadth of understanding as well as technical proficiency,” Noel Goodwin wrote in the New Grove Dictionary of Music and Musicians. When Mr. Rostropovich first heard her play, he remarked that he had found somebody to carry on his work.

Arthur Rubinstein, Itzak Perlman, Daniel Barenboim and Jacqueline du Pre.

During Christmas 1966 she met Daniel Barenboim and she converted to judaism and married him the next year. They worked together very succesfully, Barenboim accompanying her on piano or conducting the orchestra. Often compared with Robert and Clara Schumann, they were admired for their energy, musicality and youthful glamour.

Daniel Barenboim and Jacqueline du Pre.

Mr. Barenboim was once asked what it was like to accompany his wife. ”Difficult,” he replied. ”It doesn’t dawn on her sometimes that we mortals have difficulties in following her.” In the next few years, they performed throughout the world, both separately and as a duo.

The first signs of Miss du Pre’s illness appeared when she was 26 years old and at the height of her fame. ”My hands no longer worked,” she recalled in 1978. ”I simply couldn’t feel the strings.” She withdrew from concertizing for one year, then returned, to mixed reviews. The diagnosis of multiple sclerosis followed shortly, and Miss du Pre retired.

Throughout her illness, Miss du Pre remained sanguine about the future. ”Nobody knows if I’ll ever regain mobility,” she said in 1978. ”It could be that next week I’ll find myself walking down the road. I believe in realistic optimism but not wishful thinking.”

Jacqueline’s brother Piers and sisters Hilary wrote a book “A genious in the Family” which chronicles the life and career of their sister. The film “Hilary and Jackie” was based on the book. Both are considered controversial. Hilary claims that she consented to her husband Christopher Finzi having an affair with JAcqueline in the late stage of her illness in order to combfort her anxiety.

Daniel Barenboim and artists who knew them both bitterly and publicly confronted this version of events.  Hilary’s daughter with Christopher  also contradicts her mother saying her father was a violent sadist who had multiple affairs and abused Jacqueline while she was in a vulnerable, emotional state.

Jacqueline du Pre died in 1987.

Σημερα θελω να εκφρασω καποιες αποψεις και σκεψεις για το θεμα της εξ Ανατολης λαθρομεταναστευσης στην Ελλαδα. Αφορμη αποτελεσαν τα οσα εγιναν στη Νομικη Σχολη Αθηνων.

Ορισμος του προβληματος

Ο αριθμος των λαθρομεταναστων που εισερχονται στην Ελλαδα απο την Ανατολη ολο και μεγαλωνει.

Η Ελλαδα θεωρητικα αποτελει ενδιαμεσο σταθμο, ομως στην πραξη το 90% των οσων εισερχονται στην Ελλαδα, παραμενουν και δεν πανε πουθενα.

Οπως αναφερει ευστοχα ο Σταυρος Λυγερος, η Ελλαδα μετατρεπεται σε μια “χωματερη μεταναστων”, κατι που βεβαια βολευει τις αλλες Ευρωπαϊκες χωρες, αλλα αποτελει καταστροφη για την Ελλαδα.

Στη συντριπτικη τους πλειοψηφια ολοι αυτοι οι λαθρομεταναστες ειναι μωαμεθανοι.

Το φαινομενο οφειλεται στην ανισοτητα που υπαρχει αναμεσα στον υποαναπτυκτο και τον ανεπτυγμενο κοσμο. Ειναι τετοιες οι διαφορες, που δεν υπαρχει περιπτωση να σταματησει.

Οι συνεπειες ολων αυτων στην Ελλαδα ειναι συντριπτικες. Οι λαθρομεταναστες αργα η γρηγορα καταληγουν στην Αθηνα, και δη στην περιοχη του ιστορικου κεντρου. Επειδη δεν υπαρχουν πια δουλειες, καταληγουν στο εγκλημα μικρο η μεγαλο. Οι πιεσεις που δημιουργουνται στους κατοικους των περιοχων ειναι τεραστιες. Πρακτικα μιλαμε για πολλαπλες πυριτιδαποθηκες στην Αθηνα, που ειναι ετοιμες να εκραγουν.

Το φαινομενο της μεταναστευσης εξ ανατολων εχει ορισμενα διακριτικα χαρακτηριστικα που πρεπει να υπενθυμισω. Οι μωαμεθανοι μεταναστες δεν αφομοιωνονται  απο την κοινωνια. Σε αντιθεση με τους μεταναστες που ηρθαν στην Ελλαδα την δεκαετια του 1990 απο την πρωην Ανατολικη Ευρωπη, που δουλεψαν και ενσωματωθηκαν σχεδον πληρως στην ελληνικη κοινωνια. Οι αριθμοι ειναι απειλητικοι. Συμφωνα με συντηρητικες εκτιμησεις, σημερα στην Αθηνα  υπαρχουν περισσοτεροι απο 120,000 μουσουλμανοι που σε πεντε χρονια θα εχουν ξεπερασει το μισο εκατομμυριο.

Τα προσφατα γεγονοτα

Τα προσσφατα γεγονοτα στη Νομικη ειναι κωμικοτραγικα. Η Ελλαδα φανηκε για μια ακομη φορα να ειναι φυλλο φτερο στον ανεμο, ανημποτη και ανυπερασπιστη μπροστα στα γεγονοτα.  Με τη βοηθεια καποιων (δεν εχει σημασια ποιων) 250 λαθρομεταναστες κατελαβαν ενα μερος της Νομικης, απαιτωντας νομιμοποιηση της παραμονης τους στην Ελλαδα.

Το θεμα εγινε και και θεμα Πανεπιστημιακου Ασυλου, Ρατσισμου και Αντιρατσισμου.

Ενδεικτικα αναφερω τα ακολουθα γραφικα:

Ο κ. Αλαβανος εδηλωσε:  “οποιος ειναι κατα του ασυλου δεν ειναι ελληνας”.

Ο ΛΑΟΣ εδηλωσε δυσφορια που δεν μπορεσε να φιλοξενησει τους μεταναστες σε σουιτες ξενοδοχειων.

Τελικα μετα απο ενα κρυφτουλι οι Πρυτανικες Αρχες εζητησαν την αρση του Ασυλου, εγιναν διαπραγματευσεις με τους μεταναστες, και αυτοι μεταφερθηκαν σε κτηρια που ενοικιασε η Νομικη Σχολη(!)

Οπως ειναι φυσικο, το τι λεχθηκε και το τι ακουστηκε αυτες τις ημερες ειναι περισσοτερο συναισθηματικες αερολογιες η φτηνα πολιτικαντικα συνθηματα (δυστυχως ο κ. Αλαβανος κανει πλεον παρεα με το ΛΑΟΣ) η γενικολογιες ανθρωπιστικου περιεχομενου. Επι της ουσιας σχεδον μηδεν.

Η Ουσια

Η Ελλαδα δεν πρεπει να συνεχισει να ειναι ξεφραγο αμπελι.

Οσο και αν συγκινει η ανθρωπιστικη πλευρα της ταλαιπωριας των μεταναστων, δεν αποτελει λυση η νομιμοποιηση τους στην Ελλαδα, αφου η οικονομια δεν μπορει να τους απορροφησει πια. Ολοι αυτοι πρεπει να απελαθουν, οσο γρηγορωτερα τοσο το καλυτερο. Η δε δεδηλωμενη και προφανης πολιτιστικη τους γκετοποιηση και αδυναμια ενσωματωσης επιδεινωνει τη συνολικη κατασταση και δημιουργει συνθηκες εκρηκτικες στις γειτονιες της Αθηνας.

Η συνεχιζομενη διογκωση του μεταναστευτικου κυματος προς την Ελλαδα παιζει πλεον ρολο απορρυθμισης και αποσταθεροποιησης της Ελλαδας, κατι που ειναι ιδιαιτερα θετικο για την Τουρκια, η οποια με την απαραδεκτη σταση που κρατει ουσιαστικα υποστηριζει την παρανομη μεταναστευση, αφου δεν δεχεται να επιστρεψουν οι λαθρομεταναστες στην Τουρκια (πανω απο το 80% εισερχονται στην Ελλαδα μεσω Τουρκιας).

Η Ευρωπαϊκη Ενωση σφυριζει αδιαφορα και αφηνει την Ελλαδα στην καταστροφικη αυτη πορεια χωρις καμμια ουσιαστικη βοηθεια. Ειναι σκανδαλωδες να διδονται τεραστιες επιχορηγησεις σε χωρες οπως η Δανια (!) για να αντιμετωπισει το μεταναστευτικο, και να μη διδονται υπερπολλαπλασιες βοθηθειες στην Ελλαδα.

Η αμεση ληψη μετρων ειναι απαραιτητη με στοχο την σημαντικη μειωση του ρυθμου εισοδου λαρομεταναστων στη χωρα. Ο τοιχος του κ. Παπουτση δεν ειναι ιδεωδης λυση, ειναι ομως ενα βημα προς την κατευθυνση αυτη. Οσοι διαμαρτυρονται ας μας πουνε ποσο θα τους αρεσε να αναλαβουν να “φιλοξενησουν” στο σπιτι τους μια οικογενεια λαθρομεταναστων.  Η “εκ τους ασφαλους” διακηρυξη περι ανθρωπιστικων δικαιωματων μεριδας της αριστερας αποτελει υποκριτικη και  ανευθυνη πρακτικη, επειδη “δηθεν” προασπιζει τα διακιωματα των μεταναστων, και ετσι μετατρεπει ενα ζητημα γεωπολιτικης και κοινωνικης ισσοροπιας σε σαπουνοπερα ανθρωπιστικου περιεχομενου.

Απαιτουνται σε κρατικο επιπεδο πολλα μετρα – πρωτοβουλιες και αμεσα, οπως:

1. Ενισχυση απο την Ευρωπαϊκη Ενωση.  Αναδειξη του θεματος ως θεματος της Ευρωπαϊκης Ενωσης και οχι απλα της Ελλαδος. Κλιμακωση στα Ηνωμενα Εθνη και το Συμβουλιο Ασφαλειας. Επειδη το θεμα τορπιλλιζει την εθνικη ασφαλεια της Ελλαδος.

2. Διαπραγματευση με την Τουρια για την επιστροφη των λαθρομεταναστων στην Τουρκια αμεσως μετα την συλληψη τους. Το προβλημα εδω δεν ειναι η αποδοχη τους απο την Τουρκια. Η αποδοχη αυτη θα πρεπει να προστεθει ως ορος για την συνεχιση των διαπραγματευσεων της εισοδου της Τουρκιας στην Ευρωπαϊκη Ενωση.

3. Ενισχυση ολων των συνοριακων μετρων προς αποθαρρυνση της εισοδου στην Ελλαδα.

Παραλληλα, σε προσωπικο επιπεδο, ο καθενας μας θα πρεπει να ενισχυσει καθε μετρο και πρωτοβουλια ενσωματωσης των ηδη υπαρχοντων μεταναστων στην κοινωνια, οσο και αν αυτο ακουγεται δυσκολο, και ειναι δυσκολο. Στο σημειο αυτο δεν πρεπει να ξεχναμε οτι οι κατοικοι των “δυσκολων” περιοχων χρειαζονται και αυτη οση ενισχυση χρειαζονται και οι λαθρομεταναστες, αντι να αντιμετωπιζουν την εχθροτητα και την λοιδωρια των “αριστερων” τυπου ΣΥΡΙΖΑ.

1001 Ways to Die – (1) Fritz Wunderlich, Tenor

Σάββατο, 22 Ιανουαρίου, 2011

Today I embark on a sequence of posts, under the title “1001 ways to die”. The inspiration for this came to me back in 1980 when I was a graduate student in the USA. The vastness of the country, the incredible gap between the avarage person and the ultra high net worth individuals, among other things, led me one night to declare among my fellow students that at some stage of my life I will compile this as a study of human affairs during a life long journey.

On January 2011, 31 years laters, I am embarking on it, starting with Fritz Wunderlich, a German Tenor who died accidentally in 1966 before arriving at t the peak of his career.

He fell from a stairway onto the stone floor below in a friend’s country house in Oberderdingen near Maulbronn. He died in the University Clinic of Heidelberg just days before his 36th birthday. In the documentary that I have appended at the end of the post, his wife mentioned that Wunderlich was on the phone prior to descending the stairs, and while talking on the phone, he untied his boots. As he started the descend, he got tangled up, and fell on the stone ground.

Herman Prey, a contemporary German baritone, who had become a friend with Wunderlich and sang together since 1959, wrote in his diary after the tenor’s death in 1966:

“My friend Fritz is dead. This simple sentence becomes more incomprehensible to me with every day. Our friendly and artistic collaboration developed into something very rare in the last few years. We shared many amusing adventures and spent many contemplative hours together. He could discuss life’s problems and musical issues for nights on end. The most beautiful hours of my career were those spent together with him on the stage or in front of a microphone. We never discussed phrasing in advance or how we would colour certain passages – the sympathy was simply there. We used to play piano duets for hours, or roamed the forests making plans for the future.

When we first mounted the stage together during the “Schweigsame Frau” rehearsals at Salzburg in 1959, we knew that our paths would converge then on. In those brief years we learned how to complement one another. He knew a tremendous amount about singing. I learned a lot from him. With his immense natural musical talent, this son of the gods was still at the beginning of a meteoric career. What might he not have achieved, given the time? At Schubert’s graveside Grillparzer said: “Here Death buried a rich treasure, and even richer promise.” How this statement applies to Fritz too! When we were last together he told me: “The best years are yet to come; a singer only gains command over tears at forty.” He did not know that he already had it.

Wunderlich sings Schubert, Strauss and Wolf (1965)

Our dreams were truly boundless. We wanted to become the heavenly twins of song. Fate decided otherwise, decreeing that I be left alone, a deserted twin. We virtually improvised this record, our last one, together with Fritz Neumeyer and his musicians. Listening to it today, there are points at which I cannot really tell who is singing what. Our voices melted together to form one. The world is mourning for a gifted singer of his generation. I mourn for a friend and brother in song the likes of whom I will never find again.”

FRITZ WUNDERLICH – ARTE DOCUMENTARY

In addition to listening to his divine voice, in what ever he has recorded, I strongly recommend to those of you who can understand German, to view the wonderful documentary of “arte”. It comes in 7 pieces. Every minute is worth it!

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Today’s post is about a song, written by the contemporary German composer Hans Werner Henze, to words of a poem by Michalis Katsaros. The translation of the poem from the Greek to the German language was done by the German poet Hans Magnus Enzensberger.

Hans Werner Henze

I was lucky to meet the Maestro in London in 1996, in one of his lectures before the opening of the performance of his opera “Der junge Lord”. I had no idea at that time that he had composed a song using a poem by Katsaros. I found out when I bought “Voices” a compilation of twenty one songs he has wrtiten over the years.

Michalis Katsaros

An End

An end to the newsreels

An end to private housing

An end to the Te Deums

after the spent revolts

An end to all those

who define new directions

for our time

An end to genuine meetings

at ambassadorial level

An end to all those who pretend

to be our friends

An end to interpreters

An end to the public

and above all to me

who is telling you all this

When we have put an end to all that

we can begin

the Liberation

Hans Magnus Enzensberger

The interpeter of the poem in German, Hans Magnus Enzensberger, is one of the major living writers of Germany.

And now the song, sung by Joachim Vogt, tenor, and musicians of the Leipzig Symphony Orchestra, under the direction of Horst Neumann.

10 Schluß

Abyss – The Loss of the Face

Σάββατο, 15 Ιανουαρίου, 2011

Edward Munch - The Kiss of Death

“If you stare long enough into the abyss, the abyss will stare back at you”

Friedrich Nietzsche

Frank Auerbach - R.B. Kitaj

…the face is being absorbed into abstract space

Frank Auerbach - Helen Gillespie

…the abyss is swallowing the face

Max Beckmann - Stepping back from the Abyss

…a temporary regression, escape from the absolute emptiness

Francis Bacon - Head IV

…ascending screaming into black hell

Leon Kossof - Portrait of Phillip

….turning into mud

Klee - Embrace

… the embrace is another way out

Edward Munch - Death and Love

… but it could be the wrong one

Today’s dish is simple, light, with delicate flavors of the earth and the sea.

I got a very fresh sea bass and filleted it. The flesh was firm and the smell wonderful! Such a good piece of fish should not be cooked at all! I submerged it for a couple of hours in cold water with the juice of one lemon and a bit of coarse salt, while I was preparing the accompanying ingredient of the dish: a puree of split yellow peas.


As always, I use yellow split peas  (“fava” in Greek) from the island of Santorini (Thira) whose volcanic soil produces the best “fava” in Greece. Once the puree is ready, I add lemon juice, finely chopped dry onions, coriander, olive oil, salt and pepper.

I slice the sea bass fillet, and place on top of the puree with fresh coriander.

Enjoy with a glass of asyrtico white from Santorini, and please tell me what you make of this divine dish!

The itinerant John the Baptist has baptized Christ. In the Gospels, John announces the coming of Jesus and is therefore considered the “forerunner”. He died a cruel death by beheading. One of the variants of the story is that his death was the result of the wish of Herod’s stepdaughter, Salome.

There have been many renderings of the beheading of St John the Baptist by Salome.

In my view the best is the interpretation by the sublime brush of Caravaggio.

Salome looks away, although she is carrying the tray with the motionless head. The sword-man contemplates the fate of humans, while the servant observes in silence. This is a silent motionless picture full of tension.

There have also been a few “staged” photos. Frantisek Dritkol’s black and white photo shows an ecstatic Salome, delirious with joy, holding the head to her chest.

Finally, in prints Aubrey Beardsley’s depiction is minimal, but in my view highly effective.

Umayyad Mosque in Damascus Syria, built on the Christian Basilica dedicated to St John the Baptist, is one of the places claiming to have St John’s head.

Umayyad Mosque: St John's Shrine

The mosque holds a shrine which still today may contain the head of John the Baptist(Yahya), honored as a prophet by both Christians and Muslims alike. (Source wikipedia).

There is no better end to such a quick tour of the macabre end to the story, than Salome’s dance as interpreted by Karita Mattila. to the music of Richard Strauss’s opera “Salome”.

The opera is based on a the Oscar Wilde’s play “Salome”.

“In Salome, Oscar Wilde expresses a dangerous relationship between sight and sexual desire that leads to death.  The play depicts a night in a royal court on which Herod, the Tetrarch of Judea, and his wife, Herodias, hold a dinner party for some Jewish officials.  Herodias’s daughter Salome leaves the party and occupies the terrace, where she attracts the gaze of other male characters, while she herself becomes attracted to the prophet, Iokanaan.  Her carnal desire for Iokanaan leads to his beheading, an act that brings her sexual gratification and leads her to kiss the lips of his severed head.  Similarly, Herod comes to desire his step-daughter Salome, and, after persuading her to dance a highly sexualized dance, he is disgusted when she kisses Iokanaan’s lips and orders his soldiers to kill her.”

More on the play in the excellent article by Leland Tabares, which is the source of the above summary.

Birgit Nilsson as Salome

“A scherzo with a fatal conclusion” was Richard Strauss’ own tongue-in-cheek description of Salome. Upon hearing the freshly composed score played at the keyboard, his father—a famous musician himself—declared that it conjured the feeling of countless bugs crawling inside his pants. (From Washington National Opera’s feature article on Salome).

The Sea – Η Θαλασσα

Δευτέρα, 3 Ιανουαρίου, 2011

C.D. Friedrich - Monk by the Sea

And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, and winds from sternward
Bore us onward with bellying canvas,
Crice’s this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day’s end.
Sun to his slumber, shadows o’er all the ocean,
Came we then to the bounds of deepest water…
Ezra Pound, Canto I

C.D. Friedrich – Moon descending on the sea

«Ήδη ὁ ήλιος, επιφανεὶς ακόμη μίαν φοράν, έκλινε προς την δύσιν. Ήτο τρίτη και ημίσεια ώρα. Και ὁ ήλιος εχαμήλωνε, εχαμήλωνε. Και ἡ βαρκούλα του μπαρμπα-Στεφανή, με το ανθρώπινον φορτίον της, εχόρευεν, εχόρευεν επάνω εις το κύμα, πότε ανερχομένη εις υγρὰ όρη, πότε κατερχομένη εις ρευστάς κοιλάδας, νυν μεν εις την ακμὴν να καταποντισθή εις την άβυσσον, νυν δε ετοίμη να κατασυντριβή κατά της κρημνώδους ακτής. Και ὁ ιερεὺς έλεγε μέσα του την παράκλησιν όλην, από το «Πολλοίς συνεχόμενος» έως το «Πάντων προστατεύεις». Κι ὁ μπαρμπα-Στεφανής εστενοχωρείτο, μὴ δυνάμενος επὶ παρουσία του παπά να εκχύση ελευθέρως τας αφελείς βλασφημίας του, τας οποίας εμάσα κι έπνιγε μέσα του, ὑποτονθορύζων: «Σκύλιασε ὁ διαολόκαιρος, λύσσαξε! Θα σκάσης, αντίχριστε, Τούρκο! Το Μουχαμετη σου, μέσα!» Κι ἡ θειὰ το Μαλαμώ, ποιούσα το σημείον του Σταυρού, έλεγε το «Θεοτόκε Παρθένε», κι επανελάμβανεν: «Έλα, κ᾿στὲ μ᾿! Βοήθα, Παναΐα μ᾿!» Και τα κύματα έπληττον την πρώραν, έπληττον τα πλευρὰ του σκάφους, και εισορμώντα εις το κύτος εκτύπων τα νώτα, εκτύπων τους βραχίονας των ἐπιβατών. Και ὁ ήλιος εχαμήλωνεν, εχαμήλωνε. Και ἡ βαρκούλα εκινδύνευε ν᾿ αφανισθή. Και η απορρώξ βραχώδης ακτὴ εφαίνετο διαφιλονικούσα την λείαν προς τον βυθὸν της θαλάσσης».

Αλεξανδρος Παπαδιαμαντης, Στο Χριστο στο Καστρο

Emil Nolde – North Sea

“Through thunder and storm, from distant seas
I draw near, my lass!
Through towering waves, from the south
I am here, my lass!
My girl, were there no south wind
I could never come to you:
ah, dear south wind, blow once more!
My lass longs for me.”

Richard Wagner, The Flying Dutchman

Emil Nolde – The Sea

“Driven on by storms and violent winds,
I have wandered over the oceans –
for how long I can scarcely say:
I no longer count the years.
It’s impossible, I think, to name
all the countries where I’ve been;
the only one for which I yearn
I never find, my homeland!”

Richard Wagner, The Flying Dutchman

Max Beckmann – North Sea

Night sea journey
An archetypal motif in mythology, psychologically associated with depression and the loss of energy characteristic of neurosis.The night sea journey is a kind of descensus ad inferos–a descent into Hades and a journey to the land of ghosts somewhere beyond this world, beyond consciousness, hence an immersion in the unconscious.["The Psychology of the Transference," CW 16, par. 455.]Mythologically, the night sea journey motif usually involves being swallowed by a dragon or sea monster. It is also represented by imprisonment or crucifixion, dismemberment or abduction, experiences traditionally weathered by sun-gods and heroes: Gilgamesh, Osiris, Christ, Dante, Odysseus, Aeneas. In the language of the mystics it is the dark night of the soul.Jung interpreted such legends symbolically, as illustrations of the regressive movement of energy in an outbreak of neurosis and its potential progression.

The hero is the symbolical exponent of the movement of libido. Entry into the dragon is the regressive direction, and the journey to the East (the “night sea journey”) with its attendant events symbolizes the effort to adapt to the conditions of the psychic inner world. The complete swallowing up and disappearance of the hero in the belly of the dragon represents the complete withdrawal of interest from the outer world. The overcoming of the monster from within is the achievement of adaptation to the conditions of the inner world, and the emergence (“slipping out”) of the hero from the monster’s belly with the help of a bird, which happens at the moment of sunrise, symbolizes the recommencement of progression.["On Psychic Energy," CW 8, par. 68.]

All the night sea journey myths derive from the perceived behavior of the sun, which, in Jung’s lyrical image, “sails over the sea like an immortal god who every evening is immersed in the maternal waters and is born anew in the morning.["Symbols of the Mother and of Rebirth,"CW 5, par. 306.] The sun going down, analogous to the loss of energy in a depression, is the necessary prelude to rebirth. Cleansed in the healing waters (the unconscious), the sun (ego-consciousness) lives again.

(Source: Lexicon of Jungian Terms)

Panayiotis Tetsis - Sunset

Βγάζει η θάλασσα κρυφή φωνή —
φωνή που μπαίνει
μες στην καρδιά μας και την συγκινεί
και την ευφραίνει.

The secret voice of the Sea

enters our heart

it moves and rejoices it.

C.D. Friedrich - Wreck in the Sea of Ice

Τραγούδι είναι, ή παράπονο πνιγμένων; —

το τραγικό παράπονο των πεθαμένων,
που σάβανό των έχουν τον ψυχρόν αφρό,
και κλαίν για ταις γυναίκες των, για τα παιδιά των,
και τους γονείς των, για την έρημη φωλιά των,
ενώ τους παραδέρνει πέλαγο πικρό,

Is it a song, or the complaint of the ones that sunk? -

the tragic complaint of the dead,

whose shroud is the cold foam,

and cry for their wifes and their children,

and their parents, and their empty nest,

while the bitter waves batter them,

C.D. Friedrich - Sea of Ice

σε βράχους και σε πέτραις κοφτεραίς τους σπρώχνει,
τους μπλέκει μες στα φύκια, τους τραβά, τους διώχνει,
κ’ εκείνοι τρέχουνε σαν νάσαν ζωντανοί
με ολάνοιχτα τα μάτια τρομαγμένα,
και με τα χέρια των άγρια, τεντωμένα,
από την αγωνία των την υστερνή.

and pushes them on to sharp rocks and stones,

tangles them in weeds, pulls them, pushes them,

and they run as if they were alive

with eyes scared wide open,

and their hands tense, spread,

full of the tension of death.

Κ. Καβαφης, Αποσπασμα απο τα Αποκηρυγμενα, Ικαρος, 1983

C. Cavafy, Excerpt from the Denounced Poems, Icaros, 1983

(The interpretation in English is mine)

Nikolaos Lytras – Boat with Sail

«Όχι! Όχι! Δεν βρίσκεται η χαρά στην άλλη όχθη μόνον! Είναι εδώ, μεσ’ στις ψυχές μας, μέσα σε τούτες τις καρδιές, είναι παντού για όσους μπορούν να σπάσουν τα δεσμά των, αφού και μέσα μας ο ήλιος ανατέλλει και δείχνει την πορεία μας παντού όπου πηγαίνει, φως εκ φωτός αυτός, πυρσός λαμπρός του υπερτάτου φαροδείκτου, που όλοι τον παραλείπουν οι άλλοι, του φαροδείκτου, σύντροφοι, που είναι ο ουρανός!»

“No! No! Happiness does not exist only on the distant shore! It is here, inside our souls, inside these hearts, it is everywhere for those who can break their chains, as is the sun that rises inside and guides us wherever we go, light out of light, a shining torch of the supreme beacon, which we tend to forget, the sky! ”

Έτσι ελάλησα και κάθε αμφιταλάντευσις απέπτη απ’ τις ψυχές μας. Η αγαλλίασίς μου στους άλλους μετεδόθη, και, όλοι, κοιτάζοντας τον ήλιο, πετάξαμε τα σύνεργα της πλοιαρχίας – χάρτες, διαβήτες, εξάντας και φακούς – και αρπάζοντας τους σκούφους μας, εμείς, οι ναυτικοί εκ ναυτικών, τρέξαμε στο καράβι μας (το λέγαν “Άγιος Σώζων”) και όλοι, φλεγόμενοι από την νέα μας πίστη, χωρίς πλέον να ψάχνουμε το “πού” και “πώς”, τα παλαμάρια λύσαμε και υψώνοντας τα πανιά μας, αδίσταχτα σαλπάραμε με μια κραυγή:

«Κύριε των δυνάμεων μεθ’ ημών γενού».

Thus I spoke and every doubt flew away from our souls. My uplifting was transferred to the others, and all, watching the Sun, threw out all the instruments of navigation – maps, compasses, sextants and lenses – and snatching our caps, we, the mariners, the mariners of mariners, run to our ship (it was named “Saint Saviour”) and all, burning in our newly found faith, without any more searching for the “where” and “how”, we released the mooring lines and raising our sails, sailed without hesitation with one cry:

“Lord of the powers be with us”.

Ανδρεας Εμπειρικος, Οκτανα

Andreas Empeiricos, Octana

(The interpretation in English is mine)

‘God, he said quietly. Isn’t the sea what Algy calls it: a great sweet mother? The snotgreen sea. The scrotumtightening sea. (Πλεων δ’<ε>) Epi oinopa ponton (We’re sailing upon the wine-dark sea). Ah, Dedalus, the Greeks. I must teach you. You must read them in the original. Thalatta! Thalatta! She is our great sweet mother. Come and look.’

James Joyce,  Ulysses

Note: Homer’s “πλεων δ’επι οινοπα ποντον επ’ αλλοθροους ανθρωπους” is in-scripted on The Iron Footbridge in Frankfurt. It is therefore fitting to conclude with a poem of Frankfurt’s famous son,

Johann Wolfgang von Goethe.

CALM AT SEA.

SILENCE deep rules o’er the waters,

Calmly slumb’ring lies the main,
While the sailor views with trouble

Nought but one vast level plain.

Not a zephyr is in motion!

Silence fearful as the grave!
In the mighty waste of ocean

Sunk to rest is ev’ry wave.

Goethe 1795

Happy Travelling!

Happy New Year!

2010 in review (as reported to me by WordPress)

Κυριακή, 2 Ιανουαρίου, 2011

Introduction

This morning I received this review by email from WordPress. I found it interesting and decided to share it with the readers and visitors of the blog. I take the opportunity to thank all of you, and wish you a Happy and Creative New Year!

The Review

The stats helper monkeys at WordPress.com mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health:

Healthy blog!

The Blog-Health-o-Meter™ reads Wow.

Crunchy numbers

Featured image

The Louvre Museum has 8.5 million visitors per year. This blog was viewed about 200,000 times in 2010. If it were an exhibit at The Louvre Museum, it would take 9 days for that many people to see it.

In 2010, there were 109 new posts, growing the total archive of this blog to 315 posts. There were 953 pictures uploaded, taking up a total of 233mb. That’s about 3 pictures per day.

The busiest day of the year was March 8th with 1 views. The most popular post that day was Michelangelo’s Pieta: Rome and Florence.

Where did they come from?

The top referring sites in 2010 were foodbuzz.com, cookthebook.blogspot.com, despinarion.wordpress.com, facebook.com, and search.conduit.com.

Some visitors came searching, mostly for salvador dali, michelangelo, claudia cardinale, rita hayworth, and pieta.

Attractions in 2010

These are the posts and pages that got the most views in 2010.

1

Michelangelo’s Pieta: Rome and Florence January 2009
8 comments

2

Crucifixion II April 2009
6 comments

3

The 20th century Venus of Urbino – Part I: Hayworth, Aimee, Cardinale November 2009
21 comments

4

Lightly cured Lakerda fish – Λακέρδα αλίπαστη (ηπίως) September 2008
2 comments

5

Roasted Rolled Pork Neck with Potatoes – Χοιρινο Ρολο με Πατατες (το τριτο πιατο του γευματος του ντερμπυ) November 2008
8 comments

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