.
VR
Dragonrouge's Journal


Dragonrouge's Journal

THIS JOURNAL IS ON 216 FAVORITE JOURNAL LISTS

Honor: 0    [ Give / Take ]

PROFILE




5 entries this month
 

Kismet

08:37 Dec 31 2012
Times Read: 824


"now could I drink hot blood"



(Shakespeare - Hamlet)


COMMENTS

-



Halee
Halee
08:45 Dec 31 2012

Shakespear good taste





 

La Primavera: An Analysis

15:47 Dec 30 2012
Times Read: 831


La Primavera: An Analysis



La Primavera is a tempera panel painting by the famous Italian Renaissance painter Sandro Botticelli currently housed by the Uffizi Gallery of Florence. This extremely controversial painting, described by Cunningham and Reich, is “one of the most popular paintings in Western art, andis an elaborate mythological allegory of the burgeoning fertility of the world.” Botticelli’s purpose of  Primavera, described by Streeter, is purely decorative. The subject is to describe the glories of springtime, and also to express the delightful sylvan life (Streeter, 67). The allegory behind the painting can be interpreted in so many different ways and was never clearly defined, thus creating mysteriousness. The featured nine mythological characters were definitely recognizable: from the far right is the god of wind Zephyrus approaching nymph Chloris, whom transforms into the goddess of flowers, Flora; on the left, is Mercury and the three dancing graces; the central figure is Venus, immediately above her head is a blindfolded Cupid. Nobody knows the exact story of the painting, nor the exact year it was painted. But what can be found, is from the interaction, body gestures, clothing, and key features of these mythical figures, along with the hints within the painting will provide a better interpretation on Botticelli’s allegorical message in La Primavera. This essay is to explore experts’ different interpretations to gain a better understanding of the allegories of La Primavera.





D’ancona suggested that the painting was produced around 1482, and was commissioned for a member of the Medici Family, a powerful political and banking house in Florence around the fourteenth century. In 1482, Lorenzo di Pierfrancesco de’ Medici, the cousin of Lorenzo the Magnificent, signed the wedding contract to Semiramide Appiani, the sister of Jacopo IV, Lord of the Island of Elba and of Piombino. It was believed that Botticelli was commissioned to paint the Primavera for Lorenzo’s wedding. Primavera was part of a decoration in Pierfrancesco’s house in Florence, where it was hung or fixed above a lettuccio, which is a kind of settle that stood and fixed against the wall  in the chamber next to Lorenzo’s bedroom (Lightbown, 122). D’Ancona furthermore supported this phenomenon by stating that the paining was framed in a white frame, which white is a proper color for weddings. Moreover, Venus represented love, which would be even more suitable if the painting was meant for a wedding decoration (Lightbown, 122).



Primavera consists of nine mythical figures. The figures are composed into two groups of three plus three single figures (D’ancona, 33). The setting consists of plants such as a semicircular meadow, deep-spread with green grasses and flowering plants on the background: coltsfoot, forget-me-nots, cornflowers, periwinkles, daisies…etc. This garden is the garden of Venus, imagined by Botticelli as the Garden of Hesperides, a blissful garden that lays in the far west in classical greek myths. The flowers and orange trees provides evidence that the season is spring (Lightbown, 74).



Venus in the middle lifts up her hand while walking towards her right. Venus’ position in the center singles her out and signifies that she is the most important figure in this picture. Richly attired, well representing the goddess of love and marriage. Venus stands with her belly leaning forward, wearing a loose white robe and puffy sleeves. Around her neck is a gold chain with pearls. A cloak draped over her right arm and in front of and down her body. She wears a white headdress with transparent veil, which is a headdress of a married woman in the fifteenth century. Venus, gestures her hand towards the Graces, directs spectator’s attention towards the interaction between Cupid and the Graces (Lightbown, 75).



On the far right, the violent greenish-blue winged figure comes crashing through the laurel trees, is identified as Zephyrus, the god of west wind, and the bringer of spring breeze. Jacobsen   questions this figure’s identity as Zephyrus. He claims that the winged figure looks a lot different than the Zephyrus in Botticelli’s other painting The Birth of Venus. Plus his violent appearance contradicts his mild character as the bringer of the light spring breeze. The green color of this figure, as described by Jacobsen in D’Ancona’s book, is a symbol of death and decay, which he identifies such figure as the Angel of death trying to take a soul back to the underworld. His theory is now discredited because after the cleaning, the figure of Zephyrus turned out to be blue. The figure of Zephyrus’ blue-green appearance, described by D’Ancona, is the result that he is born out of the sea. Furthermore, the connotation of death in Italy is usually presented as a skeleton or as black. Zephyrus in this case, has puffed cheeks blowing out wind, which is a usual attribute of a wind god (D’Ancona, 35).



Described in Ovid’s Fasti, a poetical calendar of the Roman year, Zephyrusflies down through the laurel trees and seizes the nymph Chloris, who she comes running barefoot and terrified. Zephyrus was possessed by the beauty of nymph Chloris, and could not control his actions. Such possession on Chloris created the impulse to rape the nymph. In Ovid’s Fasti, Chlorisexplains the story about how she got raped by the Western Wind, then later he promised her a marriage, and transferred her into Flora, the goddess of flowers. As Chloris speaks, she blows roses from her mouth. However, Botticelli has modified the motif by depicting several flowers – violets, strawberries, periwinkles and cornflowers that issuing from the nymph’s mouth, altogether with the roses mentioned by Ovid. (D’Ancona, 36). After the transformation into Flora, she enjoys perpetual spring, when the trees, grass, and flowers are the freshest of all seasons. “She was gleaming white, and shining white as her dress. Though painted with roses and flowers and greenery, the unbound hair of her golden head, falls over the brow that is humbly proud… and her lap filled with flowers.” (Myths or Fingerprints?, video). Her dress covered in flowers, crowned with flowers, and scattering roses as she walks.



Immediately above Venus’ head, is the golden haired, blindfolded Cupid shooting a flaming torch towards one of the Graces. There has been two different sayings about Cupid’s aim of the flaming torch towards the Graces; Lighbown states that the arrow is pointing towards the first Grace on the left, but D’Ancona describes that the Cupid’s arrow is aimed towards the middle grace whose back is turned against the spectators. It makes more sense when the arrow is pointed towards the middle Grace, because the middle Grace is the one who glazes at Mercury in the left, inflamed by the flaming torch aimed by Cupid (D’ancona, 54).



Lightbown described the Graces as following: “Their beauty is of sort admired… a form white and tall, but not too thin, well-shaped heads, long and elegant hands, an elegant but not too slender neck, an oval face, thick blond tresses, a lofty port.” (Lightbown, 75). The Graces’ fingers are locked-in performing a circular dance. Many critics has claimed that they are sisters because they seem much alike (Lightbown, 75).  The source for Botticelli’s Graces is founded in Alberti’s description of the Graces in his passage De Pictura: “There are moreover those three youthful sisters to whom Hesiod assigned the names Aglaia, Euphrosyne, and Thalia…painted with hands interlocked, smiling, and clad in loosened and transparent garb.” (Ibid, 103).  Botticelli based his interpretation off of Alberti’s lead of the representation of the three sisters (Dempsy 1971, 327). In Alberti’s famous passage, he also revealed that the motifs of the Grace’s flowing hair and the exquisite effect of the breeze ruffling their tunics, which Botticelli responded such description in his painting (Lightbown, 77). Panofsky pointed out that the dance between the Graces is meant to be a joyful accompaniment at weddings, which supports D’Ancona’s theory about Primavera as a wedding gift. D’Ancona also interpreted the Three Graces as the representation of the three months of Spring: March, April, and May



Lilian Zirpolo stated that Botticelli’s Graces presents the theme of chastity found in Camilla and the Centaur, which they attributes the chaste behavior. Described by Seneca, the Three Graces, as attendants of Venus, are “pure and undefiled and hole in the eyes of all.” Zirpolo furthermore explained that The pearl accessory on the right Grace’s head, along with the pearl necklace represents her purity. Cupid’s aim at one of the graces meant that she is about to abandon her virginity for marriage. (Zirpolo, 25). Zirpolo’s theory contradicts with D’Ancona’s theory about the Grace’s marital status. According to D’Ancona, two of the three Graces were married, while the remaining Thalia is still unmarried. The Graces represented as Beauty, Chastity, and Seduction from left to right respectively. Botticelli identifies Chastity as the bride, which follows the long lasting tradition that the bride should come to her wedding as a virgin. And it is thereby, Cupid, who is the one who inflames Thalia’s love towards Mercury on the left (D’Ancona, 55).



On the far left, Mercury stands facing outwards, turning his back on other figures, weight resting on his left leg, his sward hangs over his left thigh. He wears a metal helmet, and penetrates a group of clouds with his sacred wand. His position and gesture has puzzled many scholars. D’ancona explained this phenomenon by explaining that Mercury is usually identified by his leather helmet, or by his hat (the petasus), and in addition to his winged boots, and the sacred wand with snakes (D’Ancona, 52). To understand the allegory of Mercury, Dempsy interpreted that the Primavera is based on the rustic farmer’s calender. The central figure Venus is the domain of the spring season’s setting. The whole season unfolds in the painting, beginning from Zephyr from the right, continuing through Venus whom represents April, ending in May which is Mercury on the left. Also supported by Ovid, the origin of the name for the month of May has been closely related to the name Mercury. This explains why Mercury has his back turned to the rest of the group because his month, May, is the last month of spring, and is the beginning of summer, which is the direction he faces in the painting (Dempsy 1968, 264). Mercury is shown dispelling a group of cloud from the sky with his sacred wand, or his caduceus. This action, according to Dempsy, is a result to complement Zephyr’s hasty entrance into the scene.



Dempsy also argued thatthe group on the right side of Primavera including Zephyrus, Chloris, Flora, Cupid and Venus, is referenced from Lucretius’s passage De Rerum Natura: “On come Spring and Venus, and Venus’s winged harbinger [Cupid] marching before, with Zephyr and mother Flora a pace behind him strewing the whole path in front with brilliant colors and filling it with scents.” (Lucretius, 737). The left half of the Primavera, including Venus and Cupid again, along with the Graces, and Mercury is based on Horace’s Odes: “O Venus…forsake thy beloved…and with three let hasten thy ardent child; the Graces too, with girdles all unloosed, the Nymphs, and Youth unlovely without thee, and Mercury!” (Horace, 30). Botticelli altered the emphasis of Lucretius’s description of  transitioning into Ovid’s account in Fasti on Flora’s metamorphosis into the growing process of spring. Such process was completed by the representation of the figure Venus (Dempsy 1968, 260).



D’acona states that only the right side of Primavera is derived from Ovid’s Fasti, while the left side is loosely based on Poliziano’s Stanze. The close relationship between Botticelli’s painting and Poliziano’s Stanze per la Giostra del Magnifico Giuliano di Piero dei Medici as described: “She is white, and her dress is white, but decorated with roses and flowers and grass; her curly blond hair falls down from her head onto her brow, which is humblr proud. The entire wood around her is smiling…every Grace finds enjoyment, where Zephry flies behind Flora and covers the green meadow with flowers…The joyful Spring is never absent, with her windswept curly blond hair, she weaves counless flowers into a garland…”. D’ancona believes that there is a close similarity between both Poliziano’s Stanze and Ovid’s Fasti, therefore, suggests that Botticelli has based his Primavera on both poems (D’ancona, 41).



With its origins as mysterious as ever, uncovering the real meaning of Primavera, has proved to be a challenge. For centuries art historians has been struggling to reveal the real meaning behind the painting. Botticelli left his work unsigned and undated, leaving experts forever more to wonder about the painting and its meaning in history. There are many conflicting theories that has been evolved in Primavera, and there is no definitive answer, but only from historian’s hypotheses.  At the very least, experts can all agree that the painting is sending a message about the assembly of gods enjoying the perpetual and joyful spring. No matter what kind of interpretation is given, Primavera will always a beautiful and fascinating painting.



Paper written by Nigel Feng for Renaissance Art Course at NYU-London



Works Cited



Cunningham, Lawrence S.; John J. Reich (16 January 2009). Culture & Values, Volume II: A Survey of the Humanities with Readings. Cengage Learning.

Dempsy, Charles. “Botticelli’s Three Graces.” Journal of the Warburg and Courtauld Institutes. Vol. 34. Warburg Institute, 1971. 326-30. Print.

Dempsy, Charles. “Mercurius Ver: The Sources of Botticelli’s Primavera.” Journal of the Warburg and Courtauld Institutes. Vol. 31. Warburg Institute, 1968. 251-73. Print.

Emil Jacobsen, Allegoria della Primavera di Sandro anno III, fasc. V, 1897, pp. 321-340. Botticelli, Archivio storico dell’arte, 2nd series.

Horace, Odes, I, 30

Ibid., p. 103

Lucretius, De rerum natura, v, 737-40

Levi, D’Ancona Mirella. Botticelli’s Primavera: a Botanical Interpretation including Astrology, Alchemy, and the Medici. Firenze: L.S. Olschki, 1983. Print.

Lightbown, Ronald. Sandro Botticelli. London: Paul Elek, 1978. Print.

Streener, A. Botticelli. London: George Bell and Sons, 1907. Print.

Zirpolo, Lilian. “Botticelli’s “Primavera”: A Lesson for the Bride.” Woman’s Art Journal. 2nd ed. Vol. 12. Woman’s Art. 24-28. Print.







SOURCE:



http://nigelfeng.wordpress.com/2012/03/28/la-primavera-an-analysis/


COMMENTS

-



 

Enmerald Game

15:43 Dec 30 2012
Times Read: 833


This is my Christmas gift and the book I`m reading now:



THE EMERALD GAME

by Culianu and Wiesner





This is an article about the book. Sorry, I couldn`t find the notes.





primavera-botticelli1_zpsd59d0652








Sacred Symbols and Science fiction in I. P. Culianu’s literature



Emerald Game - a New Image of the Universe



IP Culianu is a well-known romanian scholar, historian of religion, ideas and culture. He was the disciple of Mircea Eliade, the famous historian of religions from Chicago University. At the age of 22, he

leaves comunist Romania for good and goes to Italy for studying. He writes studies and goes teaching in great european universities from Italy, France and Holland. Finally, he gets to the United States, where he takes over the head desk of the religion history at Divinity School, Chicago University. He dies there, assassinated, in 1991.



Culianu wrote mainly studies in history of religion (most famous The Tree of Gnosis-Gnostic Mythology from Early Christianity to Modern Nihilism, Psychanodia-A Survey of the Evidence Concerning the Ascension of the Soul and Its Relevance, Out Of This World. Otherwordly Journeys from Gilgamesh to Albert Einstein, Eros and Magic in the Renaissance. 1484, Experiences of Ecstasy, Religion and Power) all published at famous publishing-houses, in international languages. He wrote a few misterious science fiction prose books: The Art of Running, short-tale volume, the first one wrote while he was in Romania and the second one, Emerald Collection, all published abroad. He wrote two science fiction novels Hesperus and The Emerald Game.



Generally speaking, his prose is a literary codification of the information given in his

scientific studies. He approaches psionics field and explains it through his

scientific studies. Analysing old texts, Culianu was certain that he reached

important information that should be made popular among people. He took that

responsability and delivered the  forgotten information in his literature.



Emerald Game was written by the romanian writer and historian of religions IP Culianu together with his fiancee Hillary S. Wiesner. The volume founds itself on the scientific theories  presented in his scientific studies, especially Out Of This World. Otherwordly Journeys from Gilgamesh to Albert Einstein[2] and Eros and Magic in the Renaissance. 1484[3].



The first theory is presented in the study Eros and Magic in the Renaissance. 1848 and comes from  Ficino’s and Bruno’s ideas. Human being consists of a material body, a spiritual

one and its soul, all of them connected. The material body uses the spirit –

astral pneuma of Aristotle, a refined etheric substance, stardust – as a

communication instrument with the soul, the most refined substance. Just like a

computer, human body extracts the outer information by its senses, sends this

information to the spirit, which processes it, transform it into images

(fantasma) which become perceptible for the soul.



The second theory is analysed in detail in the study Out of This World. Otherwordly Journeys from Gilgamesh to Albert Einstein[4]. Culianu was a great fan of modern phisycs and was complettly seduced by the fourth dimenssion theory, advanced by the modern science. In his books foreword, he reffers to a series of famous phisicians theories like Albert Einstein – Relativity Theory, Charles Howard Hinton and his volumes Scientific Stories and The Fourth Dimenssion, Edwin Abbott – Platlanda and he uses them as a strong argumentation for his own theory of multidimenssioned human mind virtual space.



The author’s hypotheses is that at the basis of the most important spiritual and

religious experiences of the humanity – extathical visions, travels to other

worlds – there are phenomena like altered states of consciousness (ASC), out of

body experiences (OBE) and near death experiences (NDE). If ”from the very old

times till now, people generally thought that the dead and the extatics live an

afterlife experience”, Culianu reaches the conclusion that ”the explored

universes are mental ones”[5].



Culianu is very interested to find out what is the mental stuff, what the dreams are and what are the phenomena related to the altered states of mind.The most important question is ”where and what is the mental space?” ”The properties and the localization of the mental space are probably the most challenging misteries people were confronted with from very old times and afterwards two centuries of positivism tried to explain them as being unreal, they came back in force, together with computer sciences”[6]. In his opinion, ”visions and unexpected mystical travels which come with a great

altered state of mind are to be interpreted as a mentally glimpse over a superior reality”[7].



The mental stuff is a virtual gate to other space and time dimenssions of the universe. Mental stuff is multidimenssional, while we live in a three-dimensional environment. Thus

the altered states of mind are the only condition of getting into a superior

dimension of the universe. The main idea is that all the religious experieces

in the history were mental accessions of other dimenssions of the universe.

This is the theory of multi-dimenssioned universe.



This idea was launched in the XIX-th century and ”it delivered, for the first time,

a simple, appealing and probably scientificaly convincing explanation of various

misterious phenomena, regularly related to religion and magics”[8].



Very misterious, somewhere between The Name of the Rose and Da vinci Code written

by Dan Brown, The Emerald Game  starts with a series of astrological crimes

that intends to make changes in the universe. The final victim of the crimes is

a very unusual one, the painting Springtime by Sandro Botticelli. ”I have written a historical-detective novel, having a catching intrigue, knowing that it is based on a series of crimes, committed in an astrological order, all of them related to the painting Springtime created by Sandro Boticelli”[9].



There is an obsession of the characters for the great astrological union of the

planets Mercury, Venus and Sun: ”This is the way the world started, with a

Great Union and we have a great one coming every nine hundred and sixty years

-960 –and every union means a total rejuvanation and a new beginning, a whole

new springtime for humanity”[10],  this is the way Marsilio Ficino explains it

in the novel pages.



The painting, let us call it the leading character, is the symbol of this kind of

astrological union. It was painted in very peculiar circumstances, just after Botticelli fasted a

whole week, during the day of the 25-th of November, at precisely 3 o clock in the

morning, in Scorpio sign. ”The painting itself represents the image of the universe and it has got a

scientific value. Destroy it and you will destroy an epoch, that epoch that is about to appear exactly in the moment of the planets union, the beginning of the new world”[11]. To gain more authenticity, the writer makes use of historical characters like Marsilio Ficino, Pico della Mirandolla, Amerigo Vespucci.



Culianu intends to make the modern reader get accustomed with the kind of magical way

of thinking of the Renaissance man, so he makes his characters talk in a very

accessible manner. Thus, the reader starts to understand that the great

religious experiences and prophets visions were, actually, travels to other

dimensions of the universe. The holy writings of Enoch, Gilgamesh, Sf. Paul, Mahomed

or of the ancient greeks are all different types of getting into other dimensions.



The mystical experience of Thomas Anglicus, one of the characters is, actually, a

travel in time. Having an accident, the character takes a trip into the XX th

century, where he goes by bus inside a modern town, together with a teenage

girl. There, Thomas identifies sacred spaces like paradise and hell.



The science fiction point of this historical novel is given by Thomas Anglicus time travel, due to which the reader can see the images of sacred spaces from this character point of view. Unable to understand

what’s going on there, his eyes see horrible things and the modern town becomes

the place where dead souls were punished or rewarded according to their sins.



”I have seen young women looking wild, their haircut elf-lock, wearing menly short

stockings, clearly tormented by some heavy cuffs on their legs, making their

way of walking very difficult. Most of them sufferred the scary torment of copper

goods on their eyes… The leg-cuffs had some outer latches and seemed to have

a decisive importance for the sinners”[12].



The author describes here a group of teenage girls having modern haircuts and

wearing high heeled shoes; the copper goods on their eyes are nothing but the

common sunglasses. Public means of transport are mistaken for some monsters carrying sinners from one place of torment to another: ”Dead sinners were brought on and on, carried in a very strange way by a herd of devils, dressed different than the others, riding some very unbelivable ugly,

noisy and stinky species of animals, of various sizes and colours; the sinners

stood just inside their bellies. I think they were mammels, though they looked

like some crustacee and had two huge froggy eyes. The road was crowded of those

terrible monsters which seemed to travel faster than people, although they

crawled on their knees.  Devils holding round arrows and dead souls wearing torture shoes were continuously thrown up from that monsters bellies, which, going forth, awfully  yelled like dragons[13]”.



Very scared, Thomas watches other terrible hell ”torments”: boungee jumping, ski,

smoking. The paradise activities are going to the beach, swimming, golf. Soda,

modern juice, becomes a goddly drink and the chocolate is a magical food. Here

is the description of soda: „The angel came to me and gracefully offered me a cupfull of a firelike drink, which seemed to boil to seethe, but was actually cold”.



„I haven’t felt anything in particular after drinking that purple water, stinging

my tongue like some very small needles. It haven’t tasted like wine or anything

familiar”[14]. Chocolate is brought by Amerigo Vespucci and described as a rare substance that cuts on

hunger: „Amerigo gave us a few small round bars, made out of a fatty matter, black or maybe dark

green, which looked like goat muck, but didn’t smell that way”[15].



This is the first image of heaven, a pool party: ”I think the first stop was in the earthly paradise,

because I have seen such a clear blue water and around and inside it there were

a crowd of completely naked people and all of them were taking pleasure in that

nice place. A lot of them were drinking something out of some cups alike the

one my angel offered me to drink just before”[16].



The second heaven was green, people having fun in the sunshine: ”People from this green and watered paradise were  dressed just the same people in Eden did; they weren’t ashamed of that and didn’t try to cover their nakedness because there was nothing to be ashamed of (they wore a kind of aprons made out of huge  leaves in their lower part of the body. I haven’t seen King David, the only singer was a young man up on the last stop building, before going to the Magician Mountain Peak. I guess the young man was a sinner, cose he sang his sad tune with his hoarse voice”[17].



Here is the hell, where sinners practice boungee-jumping: ”Some sinners hanged along a very steep mountain, their legs being tied and not their necks. It would have been impossible for

them to climb the mountain, so it seemed to be a kind of Sissif’s chores”[18]. And this is a a mountain resort, where people go skiing, but the visitor from past imagines this is purgatory: ”Maybe in some other parts of the purgatory it was warm, but here it was freezing cold. The sinners seemed to slide on something, holding some kind of forks in their hands in the meantime. They were grabbed by

a huge claw when they got down on a white icy meadow. Certainly they were

crashed, and not killed, but we were too high up above them to hear their

screams. The claws took them up on a steep slope which ended into a very deep

abyss, where the sinners were pushed down till they got into the very heart of

the hell, their bones broken and their flesh tore up to pieces or they simply

fell down into that icy abyss”[19].



Finally, Thomas Anglicus makes a comparison between his vision and other sacred ones and gets to the following conclusion: ”Generally speaking, there are some similarities between St Paul’s vision and mine”[20].

COMMENTS

-



 

X-Mass

10:36 Dec 25 2012
Times Read: 837


“Christmas is built upon a beautiful and intentional paradox; that the birth of the homeless should be celebrated in every home.”

― G.K. Chesterton, Brave New Family: G.K. Chesterton on Men and Women, Children, Sex, Divorce, Marriage and the Family





“What kind of Christmas present would Jesus ask Santa for?”

― Salman Rushdie, Fury



“And so this is Christmas...what have you done?”

― John Lennon



A Christmas candle is a lovely thing;

It makes no noise at all,

But softly gives itself away.

~Eva Logue





Era un tumult în ea, care-i lega sufletul dragostei de sufletul copilăriei din noaptea Crăciunului. Aceeaşi atingere de taină, aceeaşi depăşire a obişnuitului sufletesc, acelaşi contur de mirări, ş-acelasi monolog care simplifică sufletul, dându-i o intensitate de clopot care sună, amplificându-se prin unda muzicală. Atunci spunea mereu, cu dinţi de lapte: A venit Moş Crăciun! A venit Moş Crăciun! Şi era mică printre jucării. Acum gândul femeii spunea: Sunt cu el! Sunt cu el! Şi era fericită până la nelinişte şi spaimă: ş-atunci, ş-acum.



Ionel Teodoreanu în Tudor Ceaur Alcaz



COMMENTS

-



 

John Donne

00:56 Dec 17 2012
Times Read: 846


Fifth Holy Sonnet





I am a little world made cunningly

Of Elements, and an Angelike spright,

But black sinne hath betraid to endlesse night

My worlds both parts, and (oh) both parts must die.

You which beyond that heaven which was most high

Have found new sphears, and of new lands can write,

Powre new seas in mine eyes, that so I might

Drowne my world with my weeping earnestly,

Or wash it if it must be drown'd no more;

But oh it must be burnt! alas the fire

Of lust and envie have burnt it heretofore,

And made it fouler; Let their flames retire,

And burne me o Lord, with a fiery zeale

Of thee and thy house, which doth in eating heale.


COMMENTS

-



Isis101
Isis101
04:03 Dec 17 2012

Well...fire and brimstone will scorch and clean anything.








COMPANY
REQUEST HELP
CONTACT US
SITEMAP
REPORT A BUG
UPDATES
LEGAL
TERMS OF SERVICE
PRIVACY POLICY
DMCA POLICY
REAL VAMPIRES LOVE VAMPIRE RAVE
© 2004 - 2025 Vampire Rave
All Rights Reserved.
Vampire Rave is a member of 
Page generated in 0.6502 seconds.
X
Username:

Password:
I agree to Vampire Rave's Privacy Policy.
I agree to Vampire Rave's Terms of Service.
I agree to Vampire Rave's DMCA Policy.
I agree to Vampire Rave's use of Cookies.
•  SIGN UP •  GET PASSWORD •  GET USERNAME  •
X