agitata da due venti
Agitata da due venti
Translation:
Agitated by two winds
trembling waves in the turbulent sea
and the frightened steersman
already awaits to be shipwrecked.
By duty and by love
this heart is assailed;
it cannot resist and seems to give up
and begins to despair.
Translation:
Agitated by two winds
trembling waves in the turbulent sea
and the frightened steersman
already awaits to be shipwrecked.
By duty and by love
this heart is assailed;
it cannot resist and seems to give up
and begins to despair.
sposa son disprezzata
Sposa son disprezzata
Translation:
I am a scorned wife,
faithful, yet insulted.
Heavens, what did I do?
And yet he is my heart,
my husband, my love,
my hope.
I love him, but he is unfaithful,
I hope, but he is cruel,
will he let me die?
O God, valor is missing -
valor and constancy.
Translation:
I am a scorned wife,
faithful, yet insulted.
Heavens, what did I do?
And yet he is my heart,
my husband, my love,
my hope.
I love him, but he is unfaithful,
I hope, but he is cruel,
will he let me die?
O God, valor is missing -
valor and constancy.
ey sareban
ey Sareban
Translation :
Oh you cameller, oh you caravan! Where are you taking my Leili( My lover)?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
As we avowed our love, no one witnessed but our Lord,
As long as this world is revolving, may our love live,
Oh you cameller, oh you caravan! Where are you taking my Leili?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
All the religion I practised, in this mortal world, turned into a sprinkle of love, annd that became my living,
How good it is to shed a tear in the memory of a lover, how good it is to live, as you are burning with love,
O God, I pray to you so thay always love stays in the hearts, as ours do
Because the story of Leili and Majnoon become a fiction, but ours becomes immortal,
Why you are running away from my love now? Why you are not reading the signs of dispair through my eyes?
The way I feel sad you have no clue,
I will not survive after you I swear to God, so stay and confirm the death of my heart and then leave,
As a mighty storm, pick the flower of my being from the branches of sorrow and leave,
Because I am that one tree that stays in the way of strom,
The same tree whose branches are all broken by the anger of nature,
Oh you cameller, oh you caravan! Where are you taking my Leili?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Translation :
Oh you cameller, oh you caravan! Where are you taking my Leili( My lover)?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
As we avowed our love, no one witnessed but our Lord,
As long as this world is revolving, may our love live,
Oh you cameller, oh you caravan! Where are you taking my Leili?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
All the religion I practised, in this mortal world, turned into a sprinkle of love, annd that became my living,
How good it is to shed a tear in the memory of a lover, how good it is to live, as you are burning with love,
O God, I pray to you so thay always love stays in the hearts, as ours do
Because the story of Leili and Majnoon become a fiction, but ours becomes immortal,
Why you are running away from my love now? Why you are not reading the signs of dispair through my eyes?
The way I feel sad you have no clue,
I will not survive after you I swear to God, so stay and confirm the death of my heart and then leave,
As a mighty storm, pick the flower of my being from the branches of sorrow and leave,
Because I am that one tree that stays in the way of strom,
The same tree whose branches are all broken by the anger of nature,
Oh you cameller, oh you caravan! Where are you taking my Leili?
As you take my Leili with you, you take my heart and my soul along,
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
Oh you cameleer, where are you heading to? Why are you taking my Leili along with you?
with rue my heart is laden
With rue my heart is laden
Poetry by Alfred Housman, music by Vaughan Williams, performed by my voice teacher.
With rue my heart is laden
For golden friends I had,
For many a rose-lipt maiden
And many a lightfood lad.
By brooks too broad for leaping
The lightfoot boys are laid;
The rose-lipt girls are sleeping
In fields where roses fade.
A nice explanation of the poem by The American Scholar:
The surface meaning is simple: I regret that my friends, once young, have died. At that level of sophistication, the surface meaning of The Odyssey is equally simple: Odysseus has trouble getting home. Below the surface of Housman’s poem, though, multiple meanings (social, personal, and allusive) interact.
The poem’s social meanings arise from its time and place. The 63 poems in the collection A Shropshire Lad (of which this is number 54) describe the nostalgia of a country boy who moved to the big city. The poems, published in 1896, resonated widely in English society, where the population was rapidly urbanizing. By 1900, England would become the first country in the world to have most of its people living in cities.
The poem also had personal meanings for Housman. The scholar Archie Burnett’s 2003 essay “Silence and Allusion in Housman” showed that many of his poems were “for Housman a means of finding a voice for the love that dare not speak its name, a way of breaking silence, a veil for disclosure, at once catering to reticence and facilitating expression.” In May 1895, Oscar Wilde was sentenced for the crime of “gross indecency” (homosexuality but not buggery) to two years’ imprisonment with hard labor. Housman’s Shropshire 54 seems benignly neutral about boys and girls, maidens and lads, and Housman went to great lengths from his youth onward to conceal his homosexuality. But his passionate objection to society’s treatment of homosexuals, including Wilde, is clear in several poems in A Shropshire Lad and in his later writings, as the critic and scholar Christopher Ricks demonstrated in his essay “A. E. Housman and ‘the colour of his hair’” in 1997. Among the personal meanings of “With rue my heart is laden” is what Housman dared not say.
This poem also has allusive meanings for those who read it with the literary background that Housman brought to writing it. In Cymbeline (act 4, scene 2), Shakespeare wrote a beautiful song of mourning for a boy, Fidele, thought to have died (but only drugged in a deep sleep):
Golden lads and girls all must,
As chimney-sweepers, come to dust.
Here are Housman’s “golden” “lads” and “girls.” John Sparrow in 1934 noted echoes of Shakespeare’s dirge in this and two other poems of Housman’s. Beyond the specific words, Housman echoes Shakespeare’s point that mortality masters all. But there is more to this allusion, as the poet and critic Rosanna Warren has pointed out. Fidele is in fact a young woman, Imogen, in boys’ clothing. In Shakespeare’s time, the female role of Imogen would have been played by a boy or young man, giving the audience a male actor playing a female (Imogen) pretending to be a male (Fidele). Given what is now clear about Housman’s sexual orientation, it seems plausible that Housman, consciously or not, identified with the doubly cross-dressing Imogen/Fidele, and nurtured a hope that his poems, if not he, would live.
The economy of the poem is evident in the many images compressed into eight lines and in the questions left unanswered. As the poem opens, the narrator speaks of his rue-laden heart, raising the question: Why is he sad? The second line explains why: his friends are gone. Where have they gone? Wait till the second stanza. Who were the rose-lipt maidens (echo of Othello act 4, scene 2, as noted in Archie Burnett’s 1997 edition of Housman’s poems) and lightfoot lads in lines 3 and 4, and what were his relations with them? What happened in those friendships? The narrator never says. Instead he speaks of brooks too broad for leaping, evoking not slender streams easily leaped but a broader, slower descent to the sea in the fullness of time. Only in the last three lines, where the boys and girls are laid in death, in fields where roses fade, do we finally learn that his friends are gone not only as a result of migration (possibly) but also as a result of mortality. Additional questions remain. Why is the narrator’s mourning plural and anonymous? (The Oxford English Dictionary does not support any sexual interpretation of “laid” at the end of line 6, as the earliest sexual use of “lay” or “laid” dates from 1932.)
Turning from meanings to patterns, we face another mystery. How do the combined patterns of the symbols, on the page or spoken, evoke so much beauty? The patterns in these eight lines interweave meter, rhyme, ending accent, internal repetition, play on the letters r and l, alliteration, du-bi-du consonants, and two layers of chiasmus, within two symmetrical stanzas. Each line is written in iambic trimeter, and each set of four lines constitutes a quatrain.
With rue | my heart | is laden
For gold | en friends | I had,
For man | y a rose | -lipt maiden
And man | y a light | foot lad.
By brooks | too broad | for leaping
The light | foot boys | are laid;
The rose | -lipt girls | are sleeping
In fields | where ros | es fade.
The irregularity of the anapests in lines 3 and 4 relieves the repetitious symmetry of the other lines. The rhyme scheme is equally simple: abab. The ending accent alternates feminine (“laden,” “leaping”) and masculine (“had,” “fade”). There is an extraordinary amount of internal repetition. The first syllable of “laden” reappears in “laid” and, with a slight change in vowel, in “lad.” The second syllable of “laden” reappears in “golden” and “maiden.” Lines 3 and 4 repeat “many a” exactly. The phoneme “r?z” in “rose-lipt” and “roses” appears in lines 3, 7, and 8. “Lightfoot” appears in lines 4 and 6. Every even-numbered line ends with “d” (the initial consonant of “death,” a word that does not appear in the poem), preceded by one or another variant of the vowel-sounds that the letter “a” can exhibit. The poem uses two liquid consonants: r 10 times and l 12 times. Alliteration crosses lines: “many,” “maiden,” “many”; “lipt,” “lightfoot,” “lad,” “leaping,” “lightfoot,” “laid,” “lipt,” “(s)leeping”; “friends,” “fields,” “fade”; “brooks,” “broad,” “boys.” Another pattern, for which I do not know a technical name, I have called du-bi-du consonants. It is the pattern illustrated by the consonants in its name, du-bi-du: “lightfoot lad” (l-f-l), “brooks too broad” (b-t-b), “lightfoot boys are laid” (l-b-l), “fields where roses fade” (f-r-f).
The pattern of chiasmus is central to this example of the connection I want to make between poetry and applied mathematics. In poetry, chiasmus refers to the statement of two words or ideas and then their restatement in reverse order. A subtle example of chiasmus is the appearance of maiden and lad (female, male in elevated language) in lines 3 and 4 followed by boys and girls (male, female in demotic language) in lines 6 and 7. The change in language from elevated to demotic suggests that even the highborn are brought to earth, and the reversal of order suggests that any precedence in life (“ladies first,” maidens before lads) may be undone in death. The second stanza gives another example of chiasmus. Line 5 tells where (by brooks too broad for leaping), and line 6 tells who (the lightfoot boys). Line 7 tells who (the rose-lipt girls) followed by line 8, which tells where (in fields where roses fade). Again the pattern conveys a meaning: the brooks on the fifth line and fields on the eighth enclose the boys and girls (lines 6 and 7) as a coffin contains its cadaver. The patterns of the symbols and the messages of the poem are inextricable.
Poetry by Alfred Housman, music by Vaughan Williams, performed by my voice teacher.
With rue my heart is laden
For golden friends I had,
For many a rose-lipt maiden
And many a lightfood lad.
By brooks too broad for leaping
The lightfoot boys are laid;
The rose-lipt girls are sleeping
In fields where roses fade.
A nice explanation of the poem by The American Scholar:
The surface meaning is simple: I regret that my friends, once young, have died. At that level of sophistication, the surface meaning of The Odyssey is equally simple: Odysseus has trouble getting home. Below the surface of Housman’s poem, though, multiple meanings (social, personal, and allusive) interact.
The poem’s social meanings arise from its time and place. The 63 poems in the collection A Shropshire Lad (of which this is number 54) describe the nostalgia of a country boy who moved to the big city. The poems, published in 1896, resonated widely in English society, where the population was rapidly urbanizing. By 1900, England would become the first country in the world to have most of its people living in cities.
The poem also had personal meanings for Housman. The scholar Archie Burnett’s 2003 essay “Silence and Allusion in Housman” showed that many of his poems were “for Housman a means of finding a voice for the love that dare not speak its name, a way of breaking silence, a veil for disclosure, at once catering to reticence and facilitating expression.” In May 1895, Oscar Wilde was sentenced for the crime of “gross indecency” (homosexuality but not buggery) to two years’ imprisonment with hard labor. Housman’s Shropshire 54 seems benignly neutral about boys and girls, maidens and lads, and Housman went to great lengths from his youth onward to conceal his homosexuality. But his passionate objection to society’s treatment of homosexuals, including Wilde, is clear in several poems in A Shropshire Lad and in his later writings, as the critic and scholar Christopher Ricks demonstrated in his essay “A. E. Housman and ‘the colour of his hair’” in 1997. Among the personal meanings of “With rue my heart is laden” is what Housman dared not say.
This poem also has allusive meanings for those who read it with the literary background that Housman brought to writing it. In Cymbeline (act 4, scene 2), Shakespeare wrote a beautiful song of mourning for a boy, Fidele, thought to have died (but only drugged in a deep sleep):
Golden lads and girls all must,
As chimney-sweepers, come to dust.
Here are Housman’s “golden” “lads” and “girls.” John Sparrow in 1934 noted echoes of Shakespeare’s dirge in this and two other poems of Housman’s. Beyond the specific words, Housman echoes Shakespeare’s point that mortality masters all. But there is more to this allusion, as the poet and critic Rosanna Warren has pointed out. Fidele is in fact a young woman, Imogen, in boys’ clothing. In Shakespeare’s time, the female role of Imogen would have been played by a boy or young man, giving the audience a male actor playing a female (Imogen) pretending to be a male (Fidele). Given what is now clear about Housman’s sexual orientation, it seems plausible that Housman, consciously or not, identified with the doubly cross-dressing Imogen/Fidele, and nurtured a hope that his poems, if not he, would live.
The economy of the poem is evident in the many images compressed into eight lines and in the questions left unanswered. As the poem opens, the narrator speaks of his rue-laden heart, raising the question: Why is he sad? The second line explains why: his friends are gone. Where have they gone? Wait till the second stanza. Who were the rose-lipt maidens (echo of Othello act 4, scene 2, as noted in Archie Burnett’s 1997 edition of Housman’s poems) and lightfoot lads in lines 3 and 4, and what were his relations with them? What happened in those friendships? The narrator never says. Instead he speaks of brooks too broad for leaping, evoking not slender streams easily leaped but a broader, slower descent to the sea in the fullness of time. Only in the last three lines, where the boys and girls are laid in death, in fields where roses fade, do we finally learn that his friends are gone not only as a result of migration (possibly) but also as a result of mortality. Additional questions remain. Why is the narrator’s mourning plural and anonymous? (The Oxford English Dictionary does not support any sexual interpretation of “laid” at the end of line 6, as the earliest sexual use of “lay” or “laid” dates from 1932.)
Turning from meanings to patterns, we face another mystery. How do the combined patterns of the symbols, on the page or spoken, evoke so much beauty? The patterns in these eight lines interweave meter, rhyme, ending accent, internal repetition, play on the letters r and l, alliteration, du-bi-du consonants, and two layers of chiasmus, within two symmetrical stanzas. Each line is written in iambic trimeter, and each set of four lines constitutes a quatrain.
With rue | my heart | is laden
For gold | en friends | I had,
For man | y a rose | -lipt maiden
And man | y a light | foot lad.
By brooks | too broad | for leaping
The light | foot boys | are laid;
The rose | -lipt girls | are sleeping
In fields | where ros | es fade.
The irregularity of the anapests in lines 3 and 4 relieves the repetitious symmetry of the other lines. The rhyme scheme is equally simple: abab. The ending accent alternates feminine (“laden,” “leaping”) and masculine (“had,” “fade”). There is an extraordinary amount of internal repetition. The first syllable of “laden” reappears in “laid” and, with a slight change in vowel, in “lad.” The second syllable of “laden” reappears in “golden” and “maiden.” Lines 3 and 4 repeat “many a” exactly. The phoneme “r?z” in “rose-lipt” and “roses” appears in lines 3, 7, and 8. “Lightfoot” appears in lines 4 and 6. Every even-numbered line ends with “d” (the initial consonant of “death,” a word that does not appear in the poem), preceded by one or another variant of the vowel-sounds that the letter “a” can exhibit. The poem uses two liquid consonants: r 10 times and l 12 times. Alliteration crosses lines: “many,” “maiden,” “many”; “lipt,” “lightfoot,” “lad,” “leaping,” “lightfoot,” “laid,” “lipt,” “(s)leeping”; “friends,” “fields,” “fade”; “brooks,” “broad,” “boys.” Another pattern, for which I do not know a technical name, I have called du-bi-du consonants. It is the pattern illustrated by the consonants in its name, du-bi-du: “lightfoot lad” (l-f-l), “brooks too broad” (b-t-b), “lightfoot boys are laid” (l-b-l), “fields where roses fade” (f-r-f).
The pattern of chiasmus is central to this example of the connection I want to make between poetry and applied mathematics. In poetry, chiasmus refers to the statement of two words or ideas and then their restatement in reverse order. A subtle example of chiasmus is the appearance of maiden and lad (female, male in elevated language) in lines 3 and 4 followed by boys and girls (male, female in demotic language) in lines 6 and 7. The change in language from elevated to demotic suggests that even the highborn are brought to earth, and the reversal of order suggests that any precedence in life (“ladies first,” maidens before lads) may be undone in death. The second stanza gives another example of chiasmus. Line 5 tells where (by brooks too broad for leaping), and line 6 tells who (the lightfoot boys). Line 7 tells who (the rose-lipt girls) followed by line 8, which tells where (in fields where roses fade). Again the pattern conveys a meaning: the brooks on the fifth line and fields on the eighth enclose the boys and girls (lines 6 and 7) as a coffin contains its cadaver. The patterns of the symbols and the messages of the poem are inextricable.
smooth criminal - pop up version
VH1's "pop up video" series was one of my favorite tv shows back in the day when music videos used to be a lot of fun. Check out the episode on Smooth Criminal.
je crois entendre encore
Je crois entendre encore
Synopsis:
In the past, Nadir had fallen in love with a beautiful Brahman priestess named Léïla at a Brahman temple. Now, a veiled priestess has come to his village and he recognizes her as Léïla. He sings of his love for her which has not been diminished by the time they have spent apart.
Original text:
Je crois entendre encore,
Caché sous les palmiers,
Sa voix tendre et sonore
Comme un chant de ramier!
O nuit enchanteresse!
Divin ravissement!
O souvenir charmant!
Folle ivresse! doux rêve!
Aux clartés des étoiles,
Je crois encore la voir,
Entr'ouvrir ses longs voiles
Aux vents tièdes du soir!
O nuit enchanteresse!
Charmant souvenir!
Translation:
I think I'm still hearing
Hidden under the palm trees
Her tender and sound voice
Like the song of a woodpigeon
O enchanted night
Divine rapture
O charming souvenir
Crazy intoxication! Sweet dream!
In the clearness of the stars
I think I'm still seeing her
Opening her long veils
To the warm winds of the evening
O enchanted night
Divine rapture
O charming souvenir
Crazy intoxication! Sweet dream!
Synopsis:
In the past, Nadir had fallen in love with a beautiful Brahman priestess named Léïla at a Brahman temple. Now, a veiled priestess has come to his village and he recognizes her as Léïla. He sings of his love for her which has not been diminished by the time they have spent apart.
Original text:
Je crois entendre encore,
Caché sous les palmiers,
Sa voix tendre et sonore
Comme un chant de ramier!
O nuit enchanteresse!
Divin ravissement!
O souvenir charmant!
Folle ivresse! doux rêve!
Aux clartés des étoiles,
Je crois encore la voir,
Entr'ouvrir ses longs voiles
Aux vents tièdes du soir!
O nuit enchanteresse!
Charmant souvenir!
Translation:
I think I'm still hearing
Hidden under the palm trees
Her tender and sound voice
Like the song of a woodpigeon
O enchanted night
Divine rapture
O charming souvenir
Crazy intoxication! Sweet dream!
In the clearness of the stars
I think I'm still seeing her
Opening her long veils
To the warm winds of the evening
O enchanted night
Divine rapture
O charming souvenir
Crazy intoxication! Sweet dream!
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