25 Şubat 2013 Pazartesi

Art for art's sake.

To contact us Click HERE



































As a boy, I wanted to be a great painter.
Even now canvases like Monet’s “Water Lilies,” impress my soul although there’s not much clarity. I can even paint – I have sketches like old naval victories, paintings in the style of Picasso or Cezanne,  Thompson, although Rembrandt’s detailed soul-analysis is a stretch. It’s not even that hard. Not really.

Where is the market? I mean, why bother?
Art teachers, jealous as they were, always assumed I was some kind of expert, a “ringer” who just showed up to show off and make fun of the untalented but sincere persons who take lessons and pay the bills.
They were right. Like the guy who can really play the drums, but makes a living selling shoes – not enough courage to get out there in the trenches, or get one’s head stomped in by critics and fans alike. I figure in order to succeed, i.e. make money, one would have to grab the world’s attention and hold it long enough for someone important to decide you are “in fashion” as a painter. That you are “marketable,” and “collectible” and “in vogue.” Like as in “Good Investment.” Maybe I was just too lazy to do it—to put the time into learning the craft.
Hey! If I was to get some frames, and stretch huge expanses of white cotton over them. Rent the Public Library and Art Gallery – how much could it cost? Bolt or screw them up on the walls, put paint in pots on tables, or on the floor in buckets. O.K. I know what you’re thinking. “It’s already been done! Lots of artists have public participation in their painting projects, and the Old Masters had half of their work done by apprentices…and so called installation art consisting of neat rows of bricks, toilet seats, or even buckets of paint on a table is old hat.”
Yeah, you’re right. But then…you always are. (I’ve never heard you ask a question, or even express an opinion. You know everything.) It is abstract, and expressionistic, and therefore derivative. It’s even nihilistic, and therefore anti-Canadian.
The very first guy that walks in there and says, “Bleep! Any bleep-bleep could do that!” I’m going to grab him by the scruff of the neck, dip his head in the paint pot and bounce the mouthy bleep off the bleeping walls for a while.
It may not be entirely original. One heck of a piece of performance art, eh?
“I couldn’t do it without your help.” Eventually we’ll get this work of art finished.
I may even be able to sell a couple of them. But that’s not really important right now. 
Try to think of it as “art for art’s sake,” and you have to admit; the medium of performance art has really been lacking in some essential quality lately. You know – like violence? Think of it as a great naval victory without the water; ships and smoke and stuff.
                                                     From quiet contemplation comes chaos.

Coming November 1. 'The Art of Murder.'

To contact us Click HERE
Marketing image for my new mystery novel, 'The Art of Murder,' which will be published November 1/2012.

I would love a critique, an impression, a scathing commentary, a few words on a related subject,* for someone to go off on a tangent, or even a few unsolicited compliments on this, my first attempt at a marketing image.

Ahem. That bein' said, (and I'm just sayin',) please tell me all about how bad covers don't sell good books, and all that short-story long crap.

Hello to all of you in Russia. Russia is a great country, and I hope you all learn English very, very soon, so that you all can read a whole bunch of my books. Spacebo comrades.

More on this later.

Thank you very much and good day. Oh, and I promise to put the skull back in the ROM tomorrow before Curly the minimum-wage unarmed security guard wakes up just in time to go home.) -louis


P.S. Yes I know my signature begins with a lower case letter. It's like a little peccadillo.

*But I ain't going to get it, am I?

This is the end of this post. Stop reading it.

Man's Greatest Enemy

To contact us Click HERE
Stobaeus 2.43 (my translation):
Anacharsis the Scythian, asked by someone "What is hostile to men?", said, "They are, to themselves."

Ὰνάχαρσις ὁ Σκύθης ἐρωτηθεὶς ὑπό τινος τί ἐστι πολέμιον ἀνθρώποις; "αὐτοὶ" έφη "ἑαυτοῖς."
[Ausonius], Septem Sapientum Sententiae 1.2 (tr. Hugh G. Evelyn-White):
What is man's greatest bane? His brother man alone.

pernicies homini quae maxima? solus homo alter.
Distichs of Cato 4.11 (tr. J. Wight Duff and Arnold M. Duff):
When fear of brute beasts harasses your mind,
Know what you most should dread is human kind.

cum tibi praeponas animalia bruta timore,
unum hominem scito tibi praecipue esse timendum.

bruta Arntzen: cuncta codd.
timore D: timere ceteri codd.
Related posts:
  • Lupus Est Homo Homini
  • Homo Homini Daemon

Yet More on the Smell of Burning Papyrus

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Hello Michael Gilleland

Read your 2 posts on the pros and cons of burning papyri for the scent.

I worked extensively with papyrus plants in Uganda in the 70's and did a great number of nutrient analyses on all parts of the plant, for which the plant had to be ground up. The scent was distinct and real! My lab reeked of it for months. It is not as noticeable in the upper parts of the stem, flower or roots, but it increases dramatically in the base of the stem and the rhizome (the sprout from which the stems grow).

Also in Ethiopia found pieces of the dry stem in markets at herb kiosks where rough plant material is mixed and sold to be burned in large incense burners in the orthodox services.

Pliny called it the "aromatic herb" for a reason; and Prof. Naphtali Lewis was right, there is a natural incense compound(s) in the plant and thus in the paper.

The older papyrus paper dealt with by Grenfell and Hunt had long ago lost its essence as the paper they dealt with had dried in the desert air over centuries.

Sometimes I'm sure a resined or shellaced or tarred scroll would give off a strong scent of pine, acacia gum or bitumen, but when dealing with fresh material or scrolls tightly sealed the natural scent of papyrus is distinctly there.

Appreciated the translation of Schow and the additional comment by Eric Thomson.

Best Regards,

John Gaudet

(aka "BwanaPapyrus" on Twitter.com, also see my webpage www.fieldofreeds.com)



Related posts:
  • The Smell of Burning Papyrus
  • More on the Smell of Burning Papyrus

Wish for a Baby Boy

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Su Tung-p'o (1037-1101), "On the Birth of His Son," tr. Arthur Waley in A Hundred and Seventy Chinese Poems (New York: Alfred A. Knopf, 1919), p. 151:
Families, when a child is born
Want it to be intelligent.
I, through intelligence,
Having wrecked my whole life,
Only hope the baby will prove
Ignorant and stupid.
Then he will crown a tranquil life
By becoming a Cabinet Minister.
The same, tr. Kenneth Rexroth in One Hundred Poems from the Chinese (New York: New Directions, 1971), p. 84:
Everybody wants an intelligent son.
My intelligence only got me into difficulties.
I want only a brave and simple boy,
Who, without trouble or resistance,
Will rise to the highest offices.

24 Şubat 2013 Pazar

Art for art's sake.

To contact us Click HERE



































As a boy, I wanted to be a great painter.
Even now canvases like Monet’s “Water Lilies,” impress my soul although there’s not much clarity. I can even paint – I have sketches like old naval victories, paintings in the style of Picasso or Cezanne,  Thompson, although Rembrandt’s detailed soul-analysis is a stretch. It’s not even that hard. Not really.

Where is the market? I mean, why bother?
Art teachers, jealous as they were, always assumed I was some kind of expert, a “ringer” who just showed up to show off and make fun of the untalented but sincere persons who take lessons and pay the bills.
They were right. Like the guy who can really play the drums, but makes a living selling shoes – not enough courage to get out there in the trenches, or get one’s head stomped in by critics and fans alike. I figure in order to succeed, i.e. make money, one would have to grab the world’s attention and hold it long enough for someone important to decide you are “in fashion” as a painter. That you are “marketable,” and “collectible” and “in vogue.” Like as in “Good Investment.” Maybe I was just too lazy to do it—to put the time into learning the craft.
Hey! If I was to get some frames, and stretch huge expanses of white cotton over them. Rent the Public Library and Art Gallery – how much could it cost? Bolt or screw them up on the walls, put paint in pots on tables, or on the floor in buckets. O.K. I know what you’re thinking. “It’s already been done! Lots of artists have public participation in their painting projects, and the Old Masters had half of their work done by apprentices…and so called installation art consisting of neat rows of bricks, toilet seats, or even buckets of paint on a table is old hat.”
Yeah, you’re right. But then…you always are. (I’ve never heard you ask a question, or even express an opinion. You know everything.) It is abstract, and expressionistic, and therefore derivative. It’s even nihilistic, and therefore anti-Canadian.
The very first guy that walks in there and says, “Bleep! Any bleep-bleep could do that!” I’m going to grab him by the scruff of the neck, dip his head in the paint pot and bounce the mouthy bleep off the bleeping walls for a while.
It may not be entirely original. One heck of a piece of performance art, eh?
“I couldn’t do it without your help.” Eventually we’ll get this work of art finished.
I may even be able to sell a couple of them. But that’s not really important right now. 
Try to think of it as “art for art’s sake,” and you have to admit; the medium of performance art has really been lacking in some essential quality lately. You know – like violence? Think of it as a great naval victory without the water; ships and smoke and stuff.
                                                     From quiet contemplation comes chaos.

Coming November 1. 'The Art of Murder.'

To contact us Click HERE
Marketing image for my new mystery novel, 'The Art of Murder,' which will be published November 1/2012.

I would love a critique, an impression, a scathing commentary, a few words on a related subject,* for someone to go off on a tangent, or even a few unsolicited compliments on this, my first attempt at a marketing image.

Ahem. That bein' said, (and I'm just sayin',) please tell me all about how bad covers don't sell good books, and all that short-story long crap.

Hello to all of you in Russia. Russia is a great country, and I hope you all learn English very, very soon, so that you all can read a whole bunch of my books. Spacebo comrades.

More on this later.

Thank you very much and good day. Oh, and I promise to put the skull back in the ROM tomorrow before Curly the minimum-wage unarmed security guard wakes up just in time to go home.) -louis


P.S. Yes I know my signature begins with a lower case letter. It's like a little peccadillo.

*But I ain't going to get it, am I?

This is the end of this post. Stop reading it.

Man's Greatest Enemy

To contact us Click HERE
Stobaeus 2.43 (my translation):
Anacharsis the Scythian, asked by someone "What is hostile to men?", said, "They are, to themselves."

Ὰνάχαρσις ὁ Σκύθης ἐρωτηθεὶς ὑπό τινος τί ἐστι πολέμιον ἀνθρώποις; "αὐτοὶ" έφη "ἑαυτοῖς."
[Ausonius], Septem Sapientum Sententiae 1.2 (tr. Hugh G. Evelyn-White):
What is man's greatest bane? His brother man alone.

pernicies homini quae maxima? solus homo alter.
Distichs of Cato 4.11 (tr. J. Wight Duff and Arnold M. Duff):
When fear of brute beasts harasses your mind,
Know what you most should dread is human kind.

cum tibi praeponas animalia bruta timore,
unum hominem scito tibi praecipue esse timendum.

bruta Arntzen: cuncta codd.
timore D: timere ceteri codd.
Related posts:
  • Lupus Est Homo Homini
  • Homo Homini Daemon

Asyndeton Filling Hexameters

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In Some Lines in Lucretius, I collected lines "in which the entire hexameter consists of nouns in asyndeton." I've since found a few more examples in other Latin poets. Some of the examples contain adjectives in asyndeton. I allow examples from elegaic verse, where the asyndeton is in the hexameter.

Horace, Ars Poetica 121:
impiger iracundus inexorabilis acer
Juvenal 3.76:
grammaticus rhetor geometres pictor aliptes
Damasus, Epigrams 18.5 (Anthologiae Latinae Supplementa, Vol. I, p. 25 Ihm):
seditio caedes bellum discordia lites
Id. 32.1 (p. 37 Ihm; the variant carnificis, if construed as genitive singular, would exclude this example; the first two words occur in an example from Lucretius, 3.1017):
verbera carnifices flammas tormenta catenas
Prudentius, Hamartigenia 395:
Ira Superstitio Maeror Discordia Luctus
Id. 397:
Livor Adulterium Dolus Obtrectatio Furtum
Id. 546:
mobile sollicitum velox agitabile acutum
Id. 761:
balnea propolas meritoria templa theatra
Prudentius, Psychomachia 229:
inportunus iners infelix degener amens
Id. 449:
fibula flammeolum strophium diadema monile
Id. 464:
Cura Famis Metus Anxietas Periuria Pallor
Id. 465:
Corruptela Dolus Commenta Insomnia Sordes
Orientius, Commonitorium 1.67:
aurum vestis odor pecudes libamina gemmae
Id. 1.261:
ora color sanguis venae cutis ossa capilli
Id. 2.97:
contemptum pluvias frigus ieiunia rixas
I exclude Horace, Epistles 1.1.38 (invidus iracundus iners vinosus amator) because it contains the noun amator alongside adjectives, even though those adjectives are used substantively.

Words Are the Cement of Society

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Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 183 (II.IV: Of Truth and Lying):
There is a generation of men, whose unweighed custome makes them clack out any thing their heedlesse fancy springes; That are so habited in falshood that they can out-lye an Almanack, or, which is more, a Chancery Bill; and though they ought to have good memories, yet they lye so often, that they do at last, not remember that they lye at all. That besides creating whole scenes of their own, they cannot relate any thing cleer, and candidly: but eyther they must augment, or diminish.
Id., p. 184:
I could sooner pardon some Crimes that are capitall, then this Wild-fire in the tongue; that whipp's, and scorches wheresoever it lights. It shows so much Sulphur in the mind of the Relator, that you will easily conclude, It is the breath of Hell....Speech is the Commerce of the World, and Words are the Cement of Society. What have we to rest upon in this world, but the professions and Declarations that men seriously and solemnly offer? When any of these fail, a Ligament of the World is broke: and whatever this upheld as a foundation, falls....But for him whose weaknesse hath abandon'd him into a Lyar; I look upon him as the dreggs of mankind. A Proteus in conversation, vizarded and in disguise: As a thing that hath bankrupted himself in Humanity, that is to be contemned, and as a counterfeit to be nayl'd upon a post that he may deceive no more.

23 Şubat 2013 Cumartesi

Coming November 1. 'The Art of Murder.'

To contact us Click HERE
Marketing image for my new mystery novel, 'The Art of Murder,' which will be published November 1/2012.

I would love a critique, an impression, a scathing commentary, a few words on a related subject,* for someone to go off on a tangent, or even a few unsolicited compliments on this, my first attempt at a marketing image.

Ahem. That bein' said, (and I'm just sayin',) please tell me all about how bad covers don't sell good books, and all that short-story long crap.

Hello to all of you in Russia. Russia is a great country, and I hope you all learn English very, very soon, so that you all can read a whole bunch of my books. Spacebo comrades.

More on this later.

Thank you very much and good day. Oh, and I promise to put the skull back in the ROM tomorrow before Curly the minimum-wage unarmed security guard wakes up just in time to go home.) -louis


P.S. Yes I know my signature begins with a lower case letter. It's like a little peccadillo.

*But I ain't going to get it, am I?

This is the end of this post. Stop reading it.

No Creature Lives So Miserable

To contact us Click HERE
Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 55 (XXIX: That mis-conceit has ruin'd Man):
Our own follies have been the only cause, to make our lives uncomfortable. Our error of opinion, our cowardly fear of the worlds worthless censure, and our madding after unnecessary gold, have brambled the way of Vertue, and made it far more difficult than indeed it is.
Id., p. 56:
In our salutes, in our prayers, we wish and invoke heaven for the happiness of our friends: and shall we be so unjust, or so uncharitable, as to withhold it from our selves? As if we should make it a fashion, to be kinde abroad, and discourteous at home. I do think nothing more lawful, then moderately to satisfie the pleasing desires of Nature; so as they infringe not Religion, hurt not our selves, or the commerce of humane society. Laughing is a faculty peculiar to Man: yet, as if it were given us for inversion, no creature lives so miserable, so disconsolate. Why should we deny to use that lawfully, which Nature hath made for pleasure in imployment? Vertue hath neither so crabbed a face, nor so austere a look, as we make her.

Man's Greatest Enemy

To contact us Click HERE
Stobaeus 2.43 (my translation):
Anacharsis the Scythian, asked by someone "What is hostile to men?", said, "They are, to themselves."

Ὰνάχαρσις ὁ Σκύθης ἐρωτηθεὶς ὑπό τινος τί ἐστι πολέμιον ἀνθρώποις; "αὐτοὶ" έφη "ἑαυτοῖς."
[Ausonius], Septem Sapientum Sententiae 1.2 (tr. Hugh G. Evelyn-White):
What is man's greatest bane? His brother man alone.

pernicies homini quae maxima? solus homo alter.
Distichs of Cato 4.11 (tr. J. Wight Duff and Arnold M. Duff):
When fear of brute beasts harasses your mind,
Know what you most should dread is human kind.

cum tibi praeponas animalia bruta timore,
unum hominem scito tibi praecipue esse timendum.

bruta Arntzen: cuncta codd.
timore D: timere ceteri codd.
Related posts:
  • Lupus Est Homo Homini
  • Homo Homini Daemon

Perpetual Jollities

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Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 76 (XLI: That all things are restrained):
Surely, we deceive our selves, to think on earth, continued joyes would please. 'Tis a way that crosses that which Nature goes. Nothing would be more tedious, then to be glutted with perpetual Jollities: were the body tyed to one dish alwayes, (though of the most exquisite delicate, that it could make choise of) yet after a small time, it would complain of loathing and satiety. And so would the soul, if it did ever epicure it self in joy. Discontents are sometimes the better part of our life. I know not well which is the more usefull; Joy I may chuse for pleasure, but adversities are the best for profit. And sometimes these do so far help me, as I should without them, want much of the joy I have.

The Value of Philosophy

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Alan Cameron, The Last Pagans of Rome (Oxford: Oxford University Press, 2011), p. 527:
We need not believe they all took their philosophy seriously, but some did. One senator called Rogatianus renounced his praetorship when the lictors were waiting at his front door, dismissed his servants, sold his property, made do with eating alternate days, and in no time was cured of the gout—a classic illustration of the value of philosophy.

22 Şubat 2013 Cuma

Censure

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Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 78 (XLIII: Of Censure):
No man can write six lines, but there may be something one may carp at, if he be disposed to cavil. Opinions are as various, as false. Judgement is from every tongue, a several. Men think by censuring to be accounted wise; but, in my conceit, there is nothing layes forth more of the Fool....Frequent dispraises are, at best, but the faults of uncharitable wit. Any Clown may see the Furrow is but crooked, but where is the man that can plow me a streight one? The best works are but a kind of Miscellany; the cleanest Corn, will not be without some soil: No not after often winnowing. There is a tincture of corruption, that dies even all mortality. I would wish men in works of others, to examine two things before they judge. Whether it be more good, then ill: And whether they themselves could at first have perform'd it better.
a several: a private property or possession
dies: dyes

Why Not Publish?

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George Crabbe (1754-1832), The Borough, Letter III (The Vicar—The Curate, Etc.):
"But why not publish?"—those who know too well,
Dealers in Greek, are fearful 't will not sell;
Then he himself is timid, troubled, slow,
Nor likes his labours nor his griefs to show;
The hope of fame may in his heart have place,
But he has dread and horror of disgrace;
Nor has he that confiding, easy way,
That might his learning and himself display;
But to his work he from the world retreats,
And frets and glories o'er the favourite sheets.

Computer translation of 'Ships with Butterfly Wings'

To contact us Click HERE
Une larme tombe pour le sableVagues et vent soupirent en deuilAu-dessus de la mer dans un pays lointainJusqu'à l'horizon, puis une pauseEt puis il est partiLa chaleur du soleil n'a jamais cesséCris plaintif de goélands sans causeEspoir, desesperee, ne s'arrête jamais de chanterClignotant dans l'éblouissement, elle attendLe résultat doit avoir une causeLorsque les navires avec papillon ailesBat dans le vent sur une quête fineAmants déchirés pendant un certain tempsPersonne ne peut dire le pourquoi de ces chosesLes liaisons ont été libérés Chacun est libre d'être leur propreC'est une graine qui doit être seméeEt personne ne peut dire à son destinParfois, il n'y a aucun moyen de gagnerMais seulement à endurer.Lorsque les navires avec papillon ailesCoups dans le ventTransporter votre cœur à travers l'océanC'est tout que vous pouvez faire, parfoisD'attendre et de présenter un grief et à prier.

Art for art's sake.

To contact us Click HERE



































As a boy, I wanted to be a great painter.
Even now canvases like Monet’s “Water Lilies,” impress my soul although there’s not much clarity. I can even paint – I have sketches like old naval victories, paintings in the style of Picasso or Cezanne,  Thompson, although Rembrandt’s detailed soul-analysis is a stretch. It’s not even that hard. Not really.

Where is the market? I mean, why bother?
Art teachers, jealous as they were, always assumed I was some kind of expert, a “ringer” who just showed up to show off and make fun of the untalented but sincere persons who take lessons and pay the bills.
They were right. Like the guy who can really play the drums, but makes a living selling shoes – not enough courage to get out there in the trenches, or get one’s head stomped in by critics and fans alike. I figure in order to succeed, i.e. make money, one would have to grab the world’s attention and hold it long enough for someone important to decide you are “in fashion” as a painter. That you are “marketable,” and “collectible” and “in vogue.” Like as in “Good Investment.” Maybe I was just too lazy to do it—to put the time into learning the craft.
Hey! If I was to get some frames, and stretch huge expanses of white cotton over them. Rent the Public Library and Art Gallery – how much could it cost? Bolt or screw them up on the walls, put paint in pots on tables, or on the floor in buckets. O.K. I know what you’re thinking. “It’s already been done! Lots of artists have public participation in their painting projects, and the Old Masters had half of their work done by apprentices…and so called installation art consisting of neat rows of bricks, toilet seats, or even buckets of paint on a table is old hat.”
Yeah, you’re right. But then…you always are. (I’ve never heard you ask a question, or even express an opinion. You know everything.) It is abstract, and expressionistic, and therefore derivative. It’s even nihilistic, and therefore anti-Canadian.
The very first guy that walks in there and says, “Bleep! Any bleep-bleep could do that!” I’m going to grab him by the scruff of the neck, dip his head in the paint pot and bounce the mouthy bleep off the bleeping walls for a while.
It may not be entirely original. One heck of a piece of performance art, eh?
“I couldn’t do it without your help.” Eventually we’ll get this work of art finished.
I may even be able to sell a couple of them. But that’s not really important right now. 
Try to think of it as “art for art’s sake,” and you have to admit; the medium of performance art has really been lacking in some essential quality lately. You know – like violence? Think of it as a great naval victory without the water; ships and smoke and stuff.
                                                     From quiet contemplation comes chaos.

Coming November 1. 'The Art of Murder.'

To contact us Click HERE
Marketing image for my new mystery novel, 'The Art of Murder,' which will be published November 1/2012.

I would love a critique, an impression, a scathing commentary, a few words on a related subject,* for someone to go off on a tangent, or even a few unsolicited compliments on this, my first attempt at a marketing image.

Ahem. That bein' said, (and I'm just sayin',) please tell me all about how bad covers don't sell good books, and all that short-story long crap.

Hello to all of you in Russia. Russia is a great country, and I hope you all learn English very, very soon, so that you all can read a whole bunch of my books. Spacebo comrades.

More on this later.

Thank you very much and good day. Oh, and I promise to put the skull back in the ROM tomorrow before Curly the minimum-wage unarmed security guard wakes up just in time to go home.) -louis


P.S. Yes I know my signature begins with a lower case letter. It's like a little peccadillo.

*But I ain't going to get it, am I?

This is the end of this post. Stop reading it.

21 Şubat 2013 Perşembe

Confuting Old Errors and Begetting New Ones

To contact us Click HERE
Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 53 (XXVII: Of curiosity in Knowledge):
We fill the world with cruel brawls, in the obstinate defence of that, whereof we might with more honour, confess our selves to be ignorant. One will tell us our Saviours disputations among the Doctors. Another, what became of Moses body. A third, in what place Paradise stood: and where is local Hell. Some will know Heaven as perfectly, as if they had been hurried about in every Sphear; and I think they may. Former Writers would have the Zones inhabitable; we find them by experience, temperate. Saint Augustine would by no means indure the Antipodes: we are now of nothing more certain. Every Age both confutes old Errors, and begets new. Yet still are we more intangled, and the further we go, the nearer we approach a Sun that blindes us.
where is local Hell: where Hell is located
inhabitable: not habitable

Pecunia Donat Omnia

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Otto van Veen (1556-1629), aka Otto Vaenius, Quinti Horatii Flacci Emblemata (Antwerp: Philip Lisaert, 1612), p. 129 (click on image to enlarge):

Classical quotations on the facing page (128) of Vaenius' emblem book are from the following sources:

Horace, Epistles 1.6.36-38 (tr. H. Rushton Fairclough):
Of course a wife and dowry, credit and friends, birth and beauty, are the gift of Queen Cash, and the goddesses Persuasion and Venus grace the man who is well-to-do.

scilicet uxorem cum dote fidemque et amicos
et genus et formam regina Pecunia donat,
ac bene nummatum decorat Suadela Venusque.
Euripides, fragment 249 (not from Bellerophon, as Vaenius indicates, with the Latin translation "ingens vis est divitiarum: / quas qui nactus est, nobilis statim evadit," i.e. "great is the power of riches; the man who has obtained them immediately becomes high-born," but from Archelaus, tr. Christopher Collard and Martin Cropp):
Don't make him rich; if he's poor he'll be submissive—but wealth with a well-born man in possession of it is a very powerful thing.

μὴ πλούσιον θῇς· ἐνδεέστερος γὰρ ὢν
ταπεινὸς ἔσται· κεῖνο δ' ἰσχύει μέγα,
πλοῦτος λαβών τε τοῦτον εὐγενὴς ἀνήρ.
Juvenal 3.137-142 (tr. Susanna Morton Braund):
At Rome, produce a witness as saintly as the man who welcomed the Idaean goddess, let Numa step forward, or the man who rescued a trembling Minerva from the blazing temple—it's straight to his wealth; his character will be the last enquiry. 'How many slaves does he keep? How many acres of farmland does he own? How many and how lavish are his courses at dinner?'

da testem Romae tam sanctum, quam fuit hospes
numinis Idaei; procedat vel Numa vel qui
servavit trepidam flagranti ex aede Minervam:
protinus ad censum, de moribus ultima fiet
quaestio: quot pascit servos? quot possidet agri
iugera? quam multa magnaque paropside cenat?
Juvenal 14.207 (tr. Susanna Morton Braund):
No one asks where you got it from—but have it you must.

unde habeas quaerit nemo, sed oportet habere.
For more parallels see Renzo Tosi, Dictionnaire des sentences latines et grecques, tr. Rebecca Lenoir (Grenoble: Jérôme Millon, 2010), #1784 = Dat census honores (pp. 1304-1305).

Computer translation of 'Ships with Butterfly Wings'

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Une larme tombe pour le sableVagues et vent soupirent en deuilAu-dessus de la mer dans un pays lointainJusqu'à l'horizon, puis une pauseEt puis il est partiLa chaleur du soleil n'a jamais cesséCris plaintif de goélands sans causeEspoir, desesperee, ne s'arrête jamais de chanterClignotant dans l'éblouissement, elle attendLe résultat doit avoir une causeLorsque les navires avec papillon ailesBat dans le vent sur une quête fineAmants déchirés pendant un certain tempsPersonne ne peut dire le pourquoi de ces chosesLes liaisons ont été libérés Chacun est libre d'être leur propreC'est une graine qui doit être seméeEt personne ne peut dire à son destinParfois, il n'y a aucun moyen de gagnerMais seulement à endurer.Lorsque les navires avec papillon ailesCoups dans le ventTransporter votre cœur à travers l'océanC'est tout que vous pouvez faire, parfoisD'attendre et de présenter un grief et à prier.

Art for art's sake.

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As a boy, I wanted to be a great painter.
Even now canvases like Monet’s “Water Lilies,” impress my soul although there’s not much clarity. I can even paint – I have sketches like old naval victories, paintings in the style of Picasso or Cezanne,  Thompson, although Rembrandt’s detailed soul-analysis is a stretch. It’s not even that hard. Not really.

Where is the market? I mean, why bother?
Art teachers, jealous as they were, always assumed I was some kind of expert, a “ringer” who just showed up to show off and make fun of the untalented but sincere persons who take lessons and pay the bills.
They were right. Like the guy who can really play the drums, but makes a living selling shoes – not enough courage to get out there in the trenches, or get one’s head stomped in by critics and fans alike. I figure in order to succeed, i.e. make money, one would have to grab the world’s attention and hold it long enough for someone important to decide you are “in fashion” as a painter. That you are “marketable,” and “collectible” and “in vogue.” Like as in “Good Investment.” Maybe I was just too lazy to do it—to put the time into learning the craft.
Hey! If I was to get some frames, and stretch huge expanses of white cotton over them. Rent the Public Library and Art Gallery – how much could it cost? Bolt or screw them up on the walls, put paint in pots on tables, or on the floor in buckets. O.K. I know what you’re thinking. “It’s already been done! Lots of artists have public participation in their painting projects, and the Old Masters had half of their work done by apprentices…and so called installation art consisting of neat rows of bricks, toilet seats, or even buckets of paint on a table is old hat.”
Yeah, you’re right. But then…you always are. (I’ve never heard you ask a question, or even express an opinion. You know everything.) It is abstract, and expressionistic, and therefore derivative. It’s even nihilistic, and therefore anti-Canadian.
The very first guy that walks in there and says, “Bleep! Any bleep-bleep could do that!” I’m going to grab him by the scruff of the neck, dip his head in the paint pot and bounce the mouthy bleep off the bleeping walls for a while.
It may not be entirely original. One heck of a piece of performance art, eh?
“I couldn’t do it without your help.” Eventually we’ll get this work of art finished.
I may even be able to sell a couple of them. But that’s not really important right now. 
Try to think of it as “art for art’s sake,” and you have to admit; the medium of performance art has really been lacking in some essential quality lately. You know – like violence? Think of it as a great naval victory without the water; ships and smoke and stuff.
                                                     From quiet contemplation comes chaos.

Coming November 1. 'The Art of Murder.'

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Marketing image for my new mystery novel, 'The Art of Murder,' which will be published November 1/2012.

I would love a critique, an impression, a scathing commentary, a few words on a related subject,* for someone to go off on a tangent, or even a few unsolicited compliments on this, my first attempt at a marketing image.

Ahem. That bein' said, (and I'm just sayin',) please tell me all about how bad covers don't sell good books, and all that short-story long crap.

Hello to all of you in Russia. Russia is a great country, and I hope you all learn English very, very soon, so that you all can read a whole bunch of my books. Spacebo comrades.

More on this later.

Thank you very much and good day. Oh, and I promise to put the skull back in the ROM tomorrow before Curly the minimum-wage unarmed security guard wakes up just in time to go home.) -louis


P.S. Yes I know my signature begins with a lower case letter. It's like a little peccadillo.

*But I ain't going to get it, am I?

This is the end of this post. Stop reading it.

20 Şubat 2013 Çarşamba

A Noble Not-Caring

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Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 3 (no. II: Of Resolution):
The world has nothing in it worthy a man's serious anger. The best way to perish discontentments, is either not to see them, or convert them to a dimpling mirth. How endless will be the quarrels of a cholerick man, and the contentments of him, that is resolved to turn indignities into things to make sport withal? 'Tis sure, nothing but experience, and collected judgement, can make a man do this: but when he has brought himself unto it, how infinite shall he find his ease?
Id., p. 4:
As for the crackers of the brain, and tongue-squibs, they will die alone, if I shall not revive them. The best way to have them forgotten by others, is first to forget them my self. This will keep my self in quiet, and by a noble not-caring, arrow the intenders bosome: who will ever fret most, when he findes his designs most frustrate.
Oxford English Dictionary, s.v. arrow, v., sense 3 (citing only this passage): "To pierce, wound (? confused with harrow)."

The Merry Soul

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Owen Felltham (1602?–1668), Resolves: Divine, Moral, Political, 8th ed. (London: Printed for Peter Dring, 1661), p. 7 (no. V: Of Puritans):
If mirth and recreations be lawful, sure such a one may lawfully use it. If Wine were given to cheer the heart, why should I fear to use it for that end? Surely, the merry soul is freer from intended mischief, then the thoughtfull man. A bounded mirth, is a Patent adding time and happinesse to the crazed life of Man.
Id., pp. 7-8:
Behold then; what I have seen good! That it is comely to eat, and to drink, and to take pleasure in all his labour wherein he travaileth under the Sun, the whole number of the days of his life, which GOD giveth him. For, this is his Portion. Nay, there is no profit to Man, but that he eat, and drink, and delight his soul with the profit of his labour. For, he that saw other things but vanity, saw this also, that it was the hand of God. Methinks the reading of Ecclesiastes, should make a Puritan undress his brain, and lay off all those Phanatique toyes that gingle about his understanding.
Ecclesiastes 5.17 (Geneva Bible): Beholde then, what I have sene good, that it is comelie to eat, and to drinke, & to take pleasure in all his labour, wherein he trauaileth vnder the sunne, the whole number of the dayes of his life, which God giueth him: for this is his portion.

Ecclesiastes 2.24 (Geneva Bible): There is no profite to man: but that he eat, and drinke, and delite his soule with the profite of his labour: I sawe also this, that it was of the hand of God.

gingle: jingle

True Happiness

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Owen Feltham (1602?–1668), "True Happinesse," in Lusoria: or Occasional Pieces. With a Taste of Some Letters (London: Printed for Anne Seile, 1661), pp. 3-4:
                    1.
Long have I sought the wish of all
To find; and what it is men call
True Happiness; but cannot see
The world has it, which it can be.
Or with it Hold a sympathy.

                    2.
He that enjoyes, what here below
Frail Elements have to bestow,
Shall find most sweet, bare hopes at first;
Fruition, by fruition's burst:
Sea-water so allayes your thirst.

                    3.
Whos'ever would be happy then,
Must be so to himself: For when
Judges are taken from without,
To judge what we (fenc'd close about)
Are: they judge not, but guesse and doubt.

                    4.
He must have reason store, to spy
Natures hid ways, to satisfie
His judgment. So he may be safe
From the vain fret: for fools will chafe
At that, which makes a wise man laugh.

                    5.
If 'bove the mean his mind be pitcht,
Or with unruly Passions twicht,
A storm is there: But he sails most
Secure, whose Bark in any Coast
Can neither be becalm'd nor tost.

                    6.
A chearful, but an upright heart
Is musick wheresoe're thou art:
And where God pleaseth to confer it,
Man can no greater good inherit,
Then is a clear and temperate spirit.

                    7.
Wealth to keep want away, and Fear
Of it: Not more: some Friends, still near,
And chosen well: nor must he misse
A Calling: yet, some such as is
Imployment; not a Businesse.

                    8.
His soul must hug no private sin,
For that's a thorne hid by the skin.
But Innocence, where she is nurs'd,
Plants valiant Peace. So Cato durst
Be God-like good, when Rome was worst.

                    9.
God built he must be in his mind;
That is, part God: whose faith no wind
Can shake. When boldly he relies
On one so noble; he out-flies
Low chance, and fate of Destinies.

                    10.
Life as a middle way, immur'd
With joy and grief, to be indur'd,
Not spurn'd, nor wanton'd hence, he knows.
In crooked banks, a spring so flows
O're stone, mud, weeds: yet still cleer goes.

                    11.
And as springs rest not, till they lead
Meandring high, as their first head:
So souls rest not, till man has trod
Deaths height. Then by that period,
They rest too, rais'd as high as God.

                    12.
Summe all! he happiest is, that can
In this worlds Jarr be Honest Man.
For since Perfection is so high,
Beyond lifes reach, he that would try
True happinesse indeed, must dye.

Now the Stinking Engine Roars

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Robin Tanner (1904-1988), "Haymaking," in Double Harness (London: Impact Books, 1987), pp. 175-178:
Where once the haycocks lay
Soft-mounded and sweet,
Compounded was that hay
Of sorrel and cow-wheat,
Trefoil and tormentil,
Potentilla, meadowsweet,
Melilot and storksbill
Pungent in June heat;
Lady's bedstraw, woodruff,
Lady's mantle, marguerite,
With marjoram flowers enough
To make the air sweet;
Wagwants and nameless grasses,
Goosegrass, cocksfeet,
Feverfew and creeping Jenny,
Eyebright neat.

Where once the wagon rolled
Hoop-raved and proud
Across the shorn wold
Under the June cloud,
With slow sound of horse and wheel
Through aisles of grass and vetch,
Meadow vetchling, selfheal,
The scented load to fetch —
Knapweed, silverweed,
Hawkweed and clover,
Meadow sage, meadow rue
The pasture over:
Meadow fescue, millet grass,
Timothy and rye,
Salad burnet, creeping cinquefoil
Under the June sky —

Now the stinking engine roars
Down streamlined fields.
Oblong hayblocks
Its vomit yields.
Of sterile and purest ley,
Parcelled and hard,
Compounded is that hay,
By no flower marred;
Tested and scentless,
Weedless and clean,
Clinical bales
Litter the June scene.

Yet when the summer moon
Rises over the wood,
They are like standing stones
That have always stood;
Primeval and high,
Ageless, stark,
Their long shadows lie
In the June dark.
Older than haycocks
These cromlechs stand:
Immemorial
They rise from the land.
Man's strange ways,
Newfangled and odd,
Are all one
To the June god.

Robin Tanner, Wiltshire Hoop-Raved Wagon

Hat tip: Eric Thomson.

Like an Ugly Palimpsest

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Robin Tanner (1904-1988), Double Harness (London: Impact Books, 1987), p. 126:
We mourned for a lost Eden. Farming was becoming a noisy, mechanised, stinking business. Wagons, ploughs, and the horses that drew them were all disappearing. Wood and stone were giving place to asbestos and corrugated iron. Care and grace, and the old slow pace and the old thoroughness and craft were all abandoned. The farm tractor was now king, and speed was all-important. Thatched ricks, cut-and-laid hedges, shocks of corn and cocks of hay, handmade wooden gates and stiles, were rare sights now. The stone-breaker was no longer needed since the white limestone lanes were tarred. Flowers that were once common had become rare, and only a few of the old mixed pastures escaped the zeal of farmers keen to sow 'leys' without a 'weed'. Those who never saw Edwardian England can have no idea of its beauty. Old photographs show this with great poignancy. True, the children in them often looked cowed and ill-clad, and the men and women are bowed with labour, but that need not have been the heavy price paid for beauty and naturalness: the brash angularity of today, its harsh shapes and unsympathetic textures, its litter of poles and wires, its makeshift, temporary appearance lie like an ugly palimpsest upon the old countryside.
Id., pp. 211-212:
In the sleepy England of my childhood it was an event to see a motor car, or watch a biplane for the first time until it became a speck in the distance and vanished. Nothing ever changed. Sugar was twopence a pound, and a letter required a penny stamp. Yet the ugly and stupid technological revolution was imminent. Over the years I have watched the change from age-old agriculture to a mechanised 'agro-business'. Horses and men have gone, and traditional farming craftsmanship such as rick-building and thatching, coppicing and hedge-laying has been extinguished in the process. A hedge has become an obstacle to be removed, and wild flowers troublesome weeds to be exterminated.
Id., pp. 213-214:
Year by year we lose more and more of the things we have loved: ancient woodlands, flowery meadows, handsome old farm buildings, stiles and gates of oak and ash; things made of wool, linen or silk; cloth-bound books of lissom paper, their sections properly stitched so they open easily; and a multitude of domestic things that were good to handle – all made before the fatal invasion of synthetic substances and shoddy methods.
Hat tip: Eric Thomson.

19 Şubat 2013 Salı

Computer translation of 'Ships with Butterfly Wings'

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Une larme tombe pour le sableVagues et vent soupirent en deuilAu-dessus de la mer dans un pays lointainJusqu'à l'horizon, puis une pauseEt puis il est partiLa chaleur du soleil n'a jamais cesséCris plaintif de goélands sans causeEspoir, desesperee, ne s'arrête jamais de chanterClignotant dans l'éblouissement, elle attendLe résultat doit avoir une causeLorsque les navires avec papillon ailesBat dans le vent sur une quête fineAmants déchirés pendant un certain tempsPersonne ne peut dire le pourquoi de ces chosesLes liaisons ont été libérés Chacun est libre d'être leur propreC'est une graine qui doit être seméeEt personne ne peut dire à son destinParfois, il n'y a aucun moyen de gagnerMais seulement à endurer.Lorsque les navires avec papillon ailesCoups dans le ventTransporter votre cœur à travers l'océanC'est tout que vous pouvez faire, parfoisD'attendre et de présenter un grief et à prier.