Hakim Omar Khayyam; A great philosophical Poet and an extraordinary Scientist

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Rubaiyat of Omar Khayyam (okonlife.com) - Middle East Center
https://jsis.washington.edu/mideast/news/middle-east-studies-fall-2018-course-list/rubaiyat-of-omar-khayyam-okonlife-com/

Hello, my dear friends. Let me again have a review on the history of art in my birth land, not only because of my pride in this matter, I just think it is an interesting issue. Though, we have a quote saying; I am the one whom Rostam was the legend! Which means that one utters himself proudly because of his historical legacy. 😅😂

“Rostam was one of the heroes in the Persian Saga in Shahnameh by the Persian poet Ferdowsi” (I will come to this Myth one day.)

Anyway, it gives me even a sad feeling; in the old Persians, there were many artworks which were damaged after the Arab invasion of Persia, led to the fall of the Sasanian Empire of Iran (Persia) in 651 and the eventual decline of the Zoroastrian religion. It was a destructive attack in the years (642 – 821)

Map of Arabs' Invasion of Iran
https://www.destinationiran.com/wp-content/uploads/2018/07/cropped-Pimary-Logo-001.png

The Persians have witnessed this destructive Arabs’ invasion of Iran after the defeat of the Sassanians’ army, the reason; maybe the lack of discipline, order, unity, and integration within the administration body of Sassanians’ government paved the way for the Arabs’ conquest of Iran with a deadly blow. And pityingly, it was not only bloodsheds but also all kind of arts like Carpets, Paintings, Books, Music instruments and composed pieces written on the papers was burned out with the palaces together; under the motto; The only art is the Quran (the holy book of Islam) and nothing else.

Well, therefore, nothing’s remained from the old arts. And what we can talk about the Persian genius, it can be only after Islam and there are many; it is because the Arabs were not in a way making an imperium for themselves; they had actually no idea thereabout, they just wanted to convert people to Islam as many as they could. One had to say God is great and Muhammad is one and the only prophet. That was all, then the people could live and do what they wanted in their own home.

That’s why we see so many genii in the world of Islam, especially in Iran like Abu Ali Sina (Avicenna – The greatest doctor after Galinos)
Whom I once wrote about him, Zakariya al-Razi (inventor of Alcohol http://Muhammad ibn Zakariya al-Razi ) and also Omar Khayyam whom I want to introduce him here.

I must add here that my expression above doesn’t have to be interpreted as patriotism as I am not one. I feel it just unfair to see how a great culture gets damaged by some uncultivated ideologist. As we might know; for example; the equality between gender in the old Persia compared to the Arabs as Muhammad the prophet quoted that “Heaven is under the feet of the mothers” to stop men burring their daughters after born; they wanted only sons!

rubaiyat - vedder
https://americanart.si.edu/artwork/illustration-rubaiyat-omar-khayyam-cup-death-25623

Omar Khayyam was a Persian mathematician, astronomer, philosopher, and poet. He was born in Nishabur, in northeastern Iran, and spent most of his life near the court of the Karakhanid and Seljuq rulers in the period which witnessed the First Crusade. (Wikipedia)

I was not only fascinated by his poems but also by his solitary view to the world and into the life. He was convinced that life is now; enjoy every minute in it that when the time comes, nothing of you will remain.

Of course, there are some translations on his works; the famous one is Edward FitzGerald http://Edward FitzGerald (poet) who has a freewill-translation; nice and good but I had preferred to translate these two poems by myself.😉

from child became a teacher in a while
as a teacher, we’re happy for a while
listen to the end what we’ve received
We came out of the dust and gone with the wind

{translated by me}



یکچند به کودکی به استادشدیم
یک چند ز استادی خود شاد شدیم
پایان سخن شنو که مارا چه رسید
از خاک برامدیم و بر باد شدیم

without a pure drink, existing I can’t
without a sip of wine, bearing the body, I can’t
I avid for that moment that Saghy says;
Take another cup and I can’t
{translated by me}

This video which I represent here is not only embellished with some wonderful Khayyam’s poems but also is a very informative on Khayyam as a scientist and the story of the old Persian. If you’d have about 30 minutes time, you’d be surely amused.

Sources:

https://www.destinationiran.com/history-destructive-arabs-invasion-of-iran.htm

https://en.wikipedia.org/wiki/Muhammad_ibn_Zakariya_al-Razi#:~:text=Muhammad%20ibn%20Zakariya%20al%2DRazi%20%2D%20Wikipedia

https://en.wikipedia.org/wiki/Omar_Khayyam

https://www.britannica.com/biography/Omar-Khayyam-Persian-poet-and-astronomer

https://en.wikipedia.org/wiki/Edward_FitzGerald_(poet)

Here I’d like also present the article of my Greek friends whom I am always thankful for their great posts about the sad sinking the Titanic and more sadly the worthy book of Edward FitzGerald.

Like in the ancient time; the old Hellenes and ole Persians hold together. 🙏💖🙏

Rubayat: The most luxurious book of poetry in the history of mankind

By http://SearchingTheMeaningOfLife

(Credit: Alamy)

Natalia Petriti

When the Titanic sank on the night of April 14, 1912, in addition to the dozens of souls he was about to carry to the depths of the ocean, he would take with him one of the most important versions of all time. This book was a fictional manuscript of Rubáiyát, the 11th-century Iranian scholar Omár Khayyám. The book was considered valuable because it was the only one in the world at the time.

In fact, at that time there were plenty of copies of the volume of Persian poems. But when the Titanic made its first and final voyage, this version of Rubayat surpassed all other collections, not because of its content, but because of its unrealistic appearance. In fact, the story of the manuscript was the inspiration for a novel by French and Lebanese author Amin Maalouf, entitled Samarkand.

The story of Rubayat

Desiring to revive medieval bookbinding traditions using gemstones, George Sutcliffe and Francis Sangorski were known in the early 1900s for their luxurious and state-of-the-art designs. Henry Sotheran, a bookstore owner, turned to them to make a book like no other.

Sotheran was not interested in the cost of its creation and so the creators put their imagination to work and all their mastery.

The book was completed in 1911, after two years of intensive work. The edition consisted of loose Victorian renditions by Edward FitzGerald of Omar Khayyám’s poems, illustrated by Elihu Vedder and became known as “The Great Omar” and “The Book Wonderful” for its sheer brilliance. It had a gilded cover with three peacocks, the tails of which were decorated with precious stones and were surrounded by intricate floral patterns, pervasive in medieval Persian manuscripts. On the back cover, a Greek bouzouki adorned the book.

More than 1000 precious and semi-precious stones were used to create it. Rubies, turquoise, emeralds, as well as about 5000 pieces of leather, silver, ivory and ebony. The pagination required 600 sheets of 22 carat gold.

The Great Omar

Although destined for New York by Sotheran, the bookseller refused to pay the huge fee imposed on him by US customs. It was returned to England, where it was bought by Gabriel Wells at Sotheby’s auction for 450 450, less than half its ίας 1,000 reserve value. Wells, like Sotheran before him, intended to bring the masterpiece to America. But choosing the Titanic as the ship that would carry the book would be fatal.

The story, however, would not end with the sinking of the Titanic, or the strange death of Sangorski from drowning a few weeks later. Sutcliffe’s nephew Stanley Bray was determined to relive the memory of the “Great Lobster”.

Using Sangorski’s original designs, he managed, after six years of exhausting work, to reproduce the book, which was placed in a bank vault.

Bray once again tried to make a copy of his uncle’s “swan song”, but this time it would take him 40 years to complete. When the new copy was finalized, the result was so good that he lent it to the British Library, where he bequeathed all his property after his death.

FitzOmar

But who was Omar Khayyám’s Rubayat and who was this enigmatic person who fascinated Sotheran? An 11th-century learned man from eastern Iran, Khayyám was famous throughout his life for his pioneering work in astronomy and mathematics. Khayyám was also a poet. His poetry, however, was unlike that of any other poet of Persian origin and has been considered for centuries unique in classical Persian literature.

Because of his adventurous nature, Khayyám challenged the things that were then taken for granted: faith, the afterlife, and the meaning of life itself. He had little faith in the promises of his religion, and in his talk on “Paradise and Hell” he expressed doubts about the existence of God. There was only one thing Khayyám was sure of and truly loved: this life.

He had a good understanding – perhaps because of the turbulent times in which he lived (Iran was then under Turkish occupation, and would soon live under Arab and Mongol invasion) – of the meaning of life and the inevitability of death. Any discussion of the afterlife or religion was unnecessary for him.

Victorian poet Edward FitzGerald adored Khayyám’s Iranian spirit. When he turned his attention to him, he had already translated from Persian. But translations of Khayyám’s work were to be his magnum opus.

The translations of FitzGerald were free, but they faithfully conveyed the spirit of the original, which is why many referred to the translator using the name “FitzOmar”, which came from the combination of his adjective and “Big Omar”.

While when the work was released it was not very popular, the small but profound book would soon enjoy a popularity that FitzGerald could never have imagined. In the late 19th century, a high society literary club in London took its name from Khayyám. Rubayat has also been a source of inspiration for artists such as William Morris.

Numerous other works of art have also been produced by artists such as Edmund Dulac and Edmund Joseph Sullivan. An illustration of the latter, in fact, would adorn the cover of the 1971 Grateful Dead album of the same name in the future. Agatha Christie released the novel The Moving Fingerhad in 1942, using the title of a poem from the play as her name, and Martin Luther King used excerpts from it in an anti-war speech in 1967. In the 1950s, Rubayat was now so famous that more than half the book was in the collective books “Bartlett’s Quotations” and “The Oxford Book of Quotations”.

Rubayat today

Khayyám’s poetry has undoubtedly stood the test of time. In his homeland, Iran, Rubayat exists in every home. FitzGerald’s performance, despite the freedoms he received in this regard, is the best known in English to date and is considered a classic. The work has also been translated into almost all languages ​​of the world.

The answer to why this work is so popular is easily found in its timelessness and its “universal” truths, which do not depend on culture, religion and creed.

Source;

https://m.tvxs.gr / https://core.ac.uk/download/pdf/156613939.pdf

https://www.bbc.com/culture/article/20180111-the-rubaiyat-historys-most-luxurious-book-of-poetry

https://yd.gyproc-club.ru/425 https://www.tandfonline.com/doi/full/10.1080/00210862.2014.906184?scroll=top&needAccess=true

https://www.researchgate.net/publication/215684728_A_Criticism_and_Survey_of_the_Translation_of_the_Rubaiyat_of_Omar_Khayyam_by_FitzGerald

https://en.wikipedia.org/wiki/Rubaiyat_of_Omar_Khayyam

Julia, the movie

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Or the mysterious power of the Anima

Today I wanted to share my second post (as I usually do) with one part of own memorial time of my life which has influenced me in my Anima strongly, but first,( it will come later one time, I promise) I have to tell about this great movie that gave my Anima more power to pay more attention to this part.
As we might know, we all have the two sides of our created nature; Anima and Animus, it will help us to know our inner soul, we must know our both parts, though, it is a big difference in all humans, how they come forward with this.

It isn’t easy, I know. But I had the chance to come over it and I know my Anima, as a man, with no doubt, that I have an Anima part. although here I must confess that my Anima part is a lesbian! It took a long study in the whole of my life to understand and comprehend it, and to accept it, as a man. But I am sure; I have no interest in Masculine; for me, the important issue is the only chance to get knowing about the female’s part and I will call it the rescue of mankind!

It has surely do with my mother wish in which she had always a dream to have a daughter, for her happily chance, she took me as a last born son to grow up as her lost unborn daughter. I have learned a lot, I must say; cooking, cleaning, sewing; I have become an independent man. What a luck!

Anyway, long talk short meaning, you might know this old movie; it is about two women ( or two girlfriends) and the movie’s title had the name of one of them; Julia, I think because this Julia had more weight on all characters in this film as everyone else. I think that it is the only reason. Just look at the actresses; Jane Fonda, Vanessa Redgrave (Oh I love her……) Rosemary Murphy, even Marly Streep (just Great ) and surely not to ignore the masculine characters; Jason Robards (Dash Hammet; Perfect!) and one of my rarest great German actor; Maximillian Schell in high quality…

Don’t you like to be praised as the same?? I bet 😉


But now, It is the story which means a lot, and tells a lot; Let’s have a Wikipedia Look

Julia is a 1977 American holocaust period drama film directed by Fred Zinnemann, from a screenplay written by Alvin Sargent based on a chapter from Lillian Hellman‘s controversial book Pentimento (1973), about the author’s alleged friendship with a woman named, “Julia”, who fought against the Nazis in the years prior to World War II. The film stars Jane FondaVanessa RedgraveJason RobardsHal HolbrookRosemary MurphyMaximilian Schell and Meryl Streep (in her film debut).

Julia was released theatrically on October 2, 1977 by 20th Century Fox to generally positive reviews and grossed $20.7 million. It received a leading eleven nominations at the 50th Academy Awards, including for the Best Picture and won three; Best Supporting Actor (for Robards), Best Supporting Actress (for Redgrave), and Best Adapted Screenplay. At the 35th Golden Globe Awards, it received a leading six nominations including for the Best Motion Picture – Drama, with Fonda and Redgrave winning Best Actress and Best Supporting Actress respectively. It also received a leading ten nominations at the 32nd British Academy Film Awards and won four, including for the Best Film.

Although, I found this as a fascinating growing up of two girls in very different characters; one is in a very stubborn statue; well-born child in a rich family but anyhow resistant; against? and the other one is also resistant but in her own way! They get friends in all eternity, the one who forever crazy and clever, leave all decent way of living, and the other one, try to find herself; her being there as a purpose; a writer.

I had to mention that I have tried to find so scene with my lovely Vanessa but no chance, it seems not to succeed. Anyway, I will highly recommend this film as one of the greatest movies ever made.

She said; Dr Freud had read the book; Mein Kampf; He said what the hell; they had to arrest this man; (Hitler) in a psychotherapist local!!

https://en.wikipedia.org/wiki/Julia_(1977_film)

http://by Lillian Hellman

Starring Jane Fonda

Vanessa Redgrave

Jason Robards

Hal Holbrook

Rosemary Murphy

Maximilian Schell

Meryl Streep

The “Ka” of Hor, a statue that has no double!

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There is again; a magnificent creation of art, perception and individual way of the cult. A walking God in its perfect form.

An excellent description by Marie Grillot http://Marie Grillot 🙏💖🙏

via https://egyptophile.blogspot.com/ translated from French

When he arrived at the site of Dahshur on February 17, 1894, Jacques de Morgan, who had headed the Egyptian Antiquities Service for two years, expressed his satisfaction: “I found things as they were. I wanted to see them. The excavations in the south had uncovered mastabas and wells of the Old Kingdom; those in the north, on the contrary, had proved the existence of a vast necropolis of the XIIth Dynasty. “
Two months later, one can imagine, with good reason, that his satisfaction redoubles as he unearths, in the southern pyramid, the tomb of King Fou-ab-Ra Hor or Aou-ab-Ra Hor. The existence of this hitherto unknown ruler has only just been revealed to him by various broken objects bearing his name, left behind by grave robbers. A controversy will also arise between de Morgan and Maspero on the date of his reign: 12th? or XIIIth Dynasty?

On April 17, as he entered the tomb, accompanied by Gustave Jéquier and Georges Legrain, his attention was drawn to a large wooden naos measuring 2.09 m high, 0.68 cm wide and 0., 92 cm, “inverted flat in the eastern corner of the first chamber”.

Dessins de Georges Legrain représentant la statue dans son naos, parus dans “Fouilles à Dahchour” – Jacques de Morgan, 1894

Here is the account of the incredible discovery:

“The great naos contains the statue of the double (ka) of King Hor-Aou-Ab-Ra (or Fou-ab-Ra). The pediment was decorated with the sun disk with extended wings. The royal protocol was read in full on the uprights of the doors, broken, formerly and now disappeared. The solar disk and the hieroglyphic texts were painted in green on a gold leaf resting on a plaster plate.

“The double statue of King Hor-Fou-ab-Ra depicting “the shadow of a deceased is unique. When it was found, lying in the naos under a heap of sticks and pottery, it was still covered with a coat of grey paint that fell on the first touch …

The eyebrows, eyelids, beard stand, gorget, the tips of the breasts, toenails and hands were covered with gold leaf.

A thin belt of the same metal surrounded the kidneys, knotting at the suprapubic region to drop its extremities, which are one finger wide, down to half of the thighs.
Scattered in the back of the naos were found the fragments of the hieroglyphic sign “Ka” which surmounted the head, as well as the eyes and the beard which had once been violently torn off.
This representation of the shadow of a king bears no emblem attesting to the sovereignty of the one who united during his lifetime the two crowns of Egypt. The shadow is naked and walks calmly, a stick in the left hand guiding its walk. “

“The Horus Hotep-ab, the master of the diadems of the Vulture and the Ureus, Nojer-Khaou (with splendid appearances) the Golden Horus Nojer Nouterou (the beauty of the gods) the king of Upper and Lower Egypt, ruler of the two lands, the omnipotent Fou-ab-Ra, the son of the Sun, who comes from his side and who loves him, Hor, the royal double living in the tomb; he gives life, stability, strength and health, he rejoices on the throne of the Horus of the living, like Ra, eternally “.(inscription on the facade of the Naos)

“The artist who made this statue cared little for the material he used. He may have made the head, torso and left leg in a single block of wood; but arrived there, he adjusted with large ankles the arms and the right leg and completed his work by adding new pieces to the shoulder blades and toes. All of this disappeared in the past under the coat of grey paint. Anyway and despite the difficulties involved. he was able to meet in the accomplishment of his task, the artist did a masterpiece. The body is perfect for balance and proportions. “

This statue calls out to us in different ways, by its rock crystal eyes surrounded by bronze, by its nudity and the veins of ebony wood which resemble marbling or the grain of the skin, but especially by these arms raised on the head. …

Jean-Pierre Corteggiani enlightens us on this “ka”: “The abstract notion of ‘ka’ is certainly one of the most difficult to define because, despite the ‘double’ translation adopted in the last century, it does not correspond to any of our conceptions Let us just say that with the ba, the akh, the body (The Egyptian Soul), the shadow and the name, the ka is, for an Egyptian one of the constitutive elements of the personality of an individual and that he is, in fact, a manifestation of vital energies, both creative and conservative, related to sexual potency and the forces that maintain order in the world. “

Here is something to be, once again, absolutely amazed by ancient Egypt, by its art of course and always, but also by its way of thinking, by its perception of the components of the individual and by this notion, always immensely present. , and pregnant, of maintaining the cosmic and terrestrial balance.

Marie Grillot

Sources;

Excavations at Dahchour, Jacques de Morgan, 1894
http://dlib.nyu.edu/awdl/sites/dl-pa.home.nyu.edu.awdl/files/fouillesdahcho01morg/fouillesdahcho01morg.pdf
http://www.persee.fr/web/revues/home/prescript/article/crai_0065-0536_1895_num_39_2_70560?_Prescripts_Search_tabs1=standard&
The Egypt of the Pharaohs in the Cairo Museum, Jean-Pierre Corteggiani, 1986, Hachette
http://dlib.nyu.edu/awdl/sites/dl-pa.home.nyu.edu.awdl/files/fouillesdahcho01morg/fouillesdahcho01morg.pdf
http://www.persee.fr/web/revues/home/prescript/article/crai_0065-0536_1894_num_38_3_70401?_Prescripts_Search_tabs1=standard&

https://en.wikipedia.org/wiki/Naos_(hieroglyph)

” Without Lou, there would be no Zarathustra”

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Is it right? It is right! At least I think so.
There are many and many women in the world that have shaped the lives of men, and it is a pity for us men who had not the chance to get such an opportunity to make a worthy life!
I am serious; We men can learn a lot by our Amina’s power what we might never know. Please don’t forget that we all are made by one substance. We are so arrogant, have such an inflated arrogance which makes us blind. Open Eyes;

As I believe, the history of the creation of us the high creature has been gone wrong. We might begin from the all first or let all by side and just say to the creator (God?) you have shited about!

Anyway, let’s have a look at this wonderful and genius girl; SHe is self-assured, self-acknowledged, aggressive and progressive; what the hell we have missed!! (The language is in German but with the subtitle. a great well made movie:)

That’s it; Let know about another feminine power; it helps us to understand the world around us better, believe me, MAN

https://en.wikipedia.org/wiki/Lou_Andreas-Salom%C3%A9

Lou Andreas-Salomé, the other Kirk

By SearchingTheMeaningOfLife With Thanks 🙏💖

See the fateful woman, the charming, the mistress, the unethical, but also the smart woman, the scientist, the first psychoanalyst, the free-spirited woman, See the wife, see the author… See Lou Andreas- Salomé!

Lou Salomé, Friedrich Nietzsche, Paul Rée
Lou Salomé, Friedrich Nietzsche, Paul Rée

Look at that woman who, like another Kirk, seduced “big men”, seemingly inaccessible, “mountains of spirit”, that became their muse, their passion and their wound as they left them …

Lou Andreas-Salomé

Lou Andreas-Salomé3

This is why Friedrich Nietzsche wept It was about him, Lou Salomé, his great, unfulfilled love. She made three (temporary) marriage proposals, and she said no to all three. But for her, it was what the philosopher later said:

” Without Lou, there would be no Zarathustra”

Lou Andreas- Salomé!

..And, Nietzsche may have said that to Lu, but Nietzsche’s sister was saying to Lu that she was the devil.
For her, Lou Salomé became passionate about the poet Rainer Maria Rilke, even though she was 14 years her junior as if she had become her mistress, even though she was then married. Rilke was only 21 when he met Lou in 1897 and remained lovers for many years.

Until he met her, Rilke was listening to Rene. She was the one who gave him the name Rainer, which he has kept in his life ever since, and by that name, he became well known as a poet Rilke. Lou helped Rilke with his psychological problem with death, introduced him to the world of art and reason, and it was he who taught him Russian so that he could read works by Pushkin and Tolstoy, which he met on their trip to Russia. It was for him his mother, his mistress, his muse.

Lou Andreas Salome
Sigmund Freud and Lou Salome

Of her, Lou Salome, and only of her, Sigmund Freud the famous and famous psychiatrist-psychotherapist received negative criticism and/or suggestions for changes in the way his ideas and perceptions he had set out. Join. So he deleted Adler and Jung and others. For Lu, however, who was his special friend and schoolgirl, when in 1912 and already in his 51st year, Lu joined the psychiatric circle of Vienna, himself had said: ‘ Only one person can do whatever criticism he wants’. And that man was she, Lou. Freud was in love with her but in a specialized way

According to Paul Roazen, a political science professor, psychoanalyst, and author of numerous books on Sigmund Freud, who, like his work, had been thoroughly studied by Freud himself and already a father of six as if he had met Lou in his fifty-six years, and yes, Freud himself later admitted in his writings that he had admired Lou immensely and that he had been attached to her, but that there was no trace of sexuality in her. the relationship.

Vienna-Triangle-Victor-Tausk
Viktor Tausk

At the same time, her then fifty-three-year-old relationship with Lu’s thirty-year-old Viktor Tausk, perhaps the most important of Freud’s students was involved with both of them with Freud. In Lu, however, many were blamed for Tausk’s suicide in 1919, though six years had elapsed since the end of any relationship between them and the break-up of the latter’s cooperation with Freud.

This, Lou Salomé, was a multi-dimensional woman, who lived freely in a society drowning in her homosexuals, lived as an equal woman in a male-dominated society, and as a scientist opened fields for the women who followed. She was a woman who lived out of time. and the dimensions of its time.

It was she who had set out to fall in love with her so that she could be loved so that she could remain independent. It wasn’t falling. She was the one to conquer the others who fell in love with her and were passionate with her. This was perhaps her strength, the source of her charm, and possibly her hidden trauma. She was an unusual woman, with a free, analytical and sharp spirit possessing a rare spiritual and at the same time, human intensity combined with feminine charm. She had the ability to stimulate the secret passions of her lovers… She also had the ability and develop them autonomously in her own projects.

Lou Andreas-Salomé was a charismatic woman. It had it all. Daughter of an aristocratic family, beautiful, elegant, seductive, with excellent studies, multilingual and multifaceted, smart, with research and free mind, unobtrusive. It was said to combine two elements of character: the male and the female.

He wrote over twelve books. She was, in fact, the first psychiatrist to dare to write a sex book. Another is love and another is sex. To say sex is a necessity like food, like water .. infidelity, given..

And yet, Lou Salome remained in History as the ultimate lover of great men, as that other Cirque who charmed Nietzsche, Rainer Rilke, Freud and so many others

And, indeed, Lou Salomé had many spiritual or platonic but also passionate sexual relationships in her life, some at the same time with others, relationships with older ones, relationships with people much younger than her … She didn’t talk about it whatever her relationships, the men were the ones who talked about her and about her relationship with her others…

Lou was born on 12/2/1861 in St. Petersburg, Russia to Louise von Salomé or Luíza Gustavovna Salomé, a solitary assassin general of the Russian Army of French descent and mother of Danish descent. He had four other brothers and grew up in an aristocratic environment. As a teenager, she was teaching Hendrik Gillot, pastor of the Protestant Church with whom he had a relationship, because of which he was about to dissolve his marriage. Her mother took her to Zurich, Switzerland, to study Theology and Art History as she wanted, but in the semester she fell ill, so she stopped studying. Then her mother took her to Italy to recover. She was in her twenties at the time.

There, in Italy, Lou met the German philosopher Paul Ree, who was dazzled by her and asked her to marry her, which she refused in response to her need for independence. Later, through Ree, Lou also met Nietzsche, who had been friends with Ree for many years. Nietzsche was also immediately captivated by Lou’s presence and personality. Subsequently, all three of them, Lou with Ree and Nietzsche, briefly lived in the same house. Whether the relationship between the three was an erotic triadic character – as it was rumoured afterwards or a full spiritual one – a kind of monastic communion for solitary free spirits as they called themselves – can not be ascertained.

The fact is that over time, Nietzsche moved away from Lou with a broken heart, while Paul Ree’s old friend had always been associated with her for years – indeed, for many years. Each relationship Paul Ree with Lou stopped with her marriage in 1886. In 1901, Paul Ree found dead after falling from Vracho. Oi conditions of fall, whether it was accident or suicide are topic until today.

1886.-Lou-Salomé-und-Friedrich-Carl-Andreas-als-Verlobte-Göttinger-Tageblatt-Verlag

1886.-Lou-Salomé-und-Friedrich-Carl-Andreas

Lou Salomé was married once in her life, in 1887, to Friedrich Carl Andreas, a linguist and university professor in Göttingen, Germany. And this man married him because he had tried to commit suicide before their marriage for her sake. Until the day of their wedding, it is said, he had a knife on him to commit suicide, so she did not leave. This is how their marriage took place and lasted with the explicit term she had set: Never ending their marriage, that is, with the condition that they would not have carnal relationships with each other and that she was free to relate to any other man she wished. And so it was throughout their marriage, despite the futile efforts of her husband, until it ended with her death in 1930.

Lou Solomé died despite her wanderings in Göttingen, Germany on 5/2/1937. It was 76 years old. Her books were confiscated by the Gestapo and then destroyed because she was a colleague of Jewish Sigmund Freud. She asked to be buried and buried next to her husband

1.-blu_thumb.gif

Many and many have been written about Lou Andreas-Salomé in the years that followed to this day. Others call her a heroine, a free spirit, others call her a narcissist, others a Messalina, and others that she was for her lovers, what the female horse of Virgin Mary for his male lover.

ab45c8658c132ace7946f4eed0decc88

The Paul Roazen (http://Paul Roazen) wrote about this: » H Lu belongs to the kind of women who can collect great men as was Madame de Staëlin the eighteenth century and Alma Mahler in the twentieth. In Lu’s case, beauty was not the main element of their attraction. As beautiful as she was in the past, she had to rely on her knowledge of psychology to draw attention to her possible conquests. Lou was useful in the line of her great men as she could identify with the vulnerable part of their personality who desperately needed support but all who fell in love with her were eventually forced to discover that Lou had remained independent and had given in none of them herself. All her great men needed her, but each of her lovers realized in the end that she had escaped them. “

A younger than her mistress, Swedish psychiatrist Poul Bjerre (15 years younger), who met him in the psychiatric circle of Vienna when she was well over fifty-five, said afterwards: ” ” Lu builds a passionate relationship with a man, and nine months later, the man brings a book to the world. “

And Lou herself said: “Only one who is completely left to himself is fit to be in constant love, for only he can, in living fullness, symbolize another’s life, only he can be felt like a force of her.”

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And let me remind you here of something that Dimitris Liantinis had said in his remark on “Gamma”:

“Kirk is smart. That’s why it’s so beautiful that it looks like a witch and a witch kid. That is why it enchants the star and does not walk. If it wasn’t smart, it wouldn’t look pretty either. Beauty is the power of intellect. Beauty is not just curves and colours, rocking and neck and hair. Beauty is demonic dominance in the environment for undefined reasons. It’s the ’embarrassing beauty’ that Plato says. “

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My sources:

https://books.google.com/books/about/The_Historiography_of_Psychoanalysis.html?id=OyPLb8JpAtEC&redir_esc=y Paul Roazen

https://books.google.com/books?id=Set1p03TPv8C&printsec=frontcover&hl=en#v=onepage&q&f=false , http://www.dieterwunderlich.de/Lou_Andreas_Salome.htm , https://www.wikiw fr / Paul_R% C3% A9e , http://www.encyclopedia.com/people/medicine/psychology-and-psychiatry-biographies/lou-andreas-salome ,

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A poem of Lou Salome that was published in 1910 in the book «Die Erotik» and set to music by fascinated Nietzsche:

Hymn To Life,

Surely, a friend loves a friend
That way I love you, enigmatic life –
Whether I rejoiced or wept with you,
Whether you gave me joy or pain.

I love you with all your harms;
And if you must destroy me,
I wrest myself from your arms,
As a friend tears himself away from a friend’s breast.

I embrace you with all my strength!
Let all your flames ignite me,
Let me in the ardor of the struggle
Probe your puzzle ever deeper.

To live and think millennia!
Enclose me now in both your arms:
If you have no more joy to give me –
Well then — there still remains your pain.

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source:  https://beatrikn.wordpress.com/

Catch a Cold in the Time of Corona? Never!

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Hello dear friends, I hope you are all well and blithely in these horrible and chaotic days.
Since this terrifying virus has been present in our world I had never written or even tried to tell about it, though I have seen many people did write many articles under its name. I didn’t want to do it because I just find it a bizarre and indescribable issue which nobody knows what it is; therefore, just kept silence.
But now I must talk thereabout, not because of its presence with us but its name strongly appeared at least for one and a half-day at our home!

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The story begins last Sunday in which my wife caught a cold. First, she thought it is a light cold but when got worst at night, she has informed the school where she teaches, that she could not come to work. Although it took longer; into the Wednesday, and there the school recommended a Corona-test, as usual, they said!
I can understand as the rule demands these days; my wife was a little nervous but I was sure that it was just about a common cold as she often catches when the season changes.

Catching A Cold Cartoons and Comics - funny pictures from CartoonStock
http://CartoonStock

But the term had become alive for us. My fear was not that of the virus itself but of the sloppy works that happen here and there, in such a thrilling situation. My wife told me last week that one of her colleagues got the same problem; caught a cold; had to take the test; they said it’s positive and after she unbelievingly let it for a further checkup, it came out that the result had been swapped! It was my whole excitement.

Cartoon Coronavirus Character. Angry Virus With Golden Crown... Royalty  Free Cliparts, Vectors, And Stock Illustration. Image 142840353.
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Anyway, on Friday the result was there and thanks goodness it was negative, but we felt the invisible enemy that lurked around us.
It is not only the virus which causes the problem, it is our fear that is much more dangerous than the virus itself. We must not forget that once catching cold was something everyday trouble for us, once a sneeze or cough was not a catastrophic event. Our excitements and fear take us away from reason, therefore, we can’t think clearly and then we make mistakes.

Cartoon Coronavirus Charakter Versus Planet Erde Charakter Der Planet Erde  Kämpft Gegen Das Coronavirus Stock Vektor Art und mehr Bilder von Angeberei  - iStock
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I wish you all a leisurely weekend and a peaceful healthy time. don’t forget; laugh is healthy. 🤣😎🙏💖💖🙏

Comic Cartoon Coronavirus Covid19 - Cartoons, Comic, Karikaturen,  Illustration, Grafik-Design
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A Dream Within a Dream

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Edgar Allan Poe, drawing on isolated white background for print and web.  Illustration, calligraphy for the interior. Painting graffiti on the wall.  Design for a book or a collection of short stories. —
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…And the dead are but for a moment motionless…

Actually, I’ve got knowing Allan Poe via Alan Parsons, the great musician and composer who made a lot of great music and among them the vinyl album; Tale of Mystery and Imagination.

As I might notice before, I have not much with poetry, but when I had the vinyl and listen to the poems… I was fascinated. It might be the dark-side of Poe’s poetry, or The Dark Side at all, because, it is my loveliest side, but I have run to his poems and loved them because, they’re with no doubt a psychological look at our hidden edges.

First, there is a dream within a dream.

A Dream Within a Dream” is a poem written by American poet Edgar Allan Poe, first published in 1849. The poem has 24 lines, divided into two stanzas.

Analysis

The poem dramatizes the confusion felt by the narrator as he watches the important things in life slip away.[1] Realizing he cannot hold on to even one grain of sand, he is led to his final question whether all things are just a dream.

It has been suggested that the “golden sand” referenced in the 15th line signifies that which is to be found in an hourglass, consequently time itself. Another interpretation holds that the expression evokes an image derived from the 1848 finding of gold in California. The latter interpretation seems unlikely, however, given the presence of the four, almost identical, lines describing the sand in another poem “To ——,” which is regarded as a blueprint for “A Dream Within a Dream” and preceding its publication by two decades.

A Dream Within a Dream

BY EDGAR ALLAN POE

Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow —
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand —
How few! yet how they creep
Through my fingers to the deep,
While I weep — while I weep!
O God! Can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

I can be sure that it is always fascinating to go into the hidden side of the soul, but it is not so easy; we all have the edges of our unknown, they are all hidden behind our experiences from our childhood. It’s called complexes, Sigmund Freud meant at least. But they are all present and we can’t vanish them but work with them to know ourselves better.

Shadows of shadows passing

It is now 1831

And as always, I am absorbed with a delicate thought

It is how poetry has indefinite sensations

To which end, music is an essential

Since the comprehension of sweet

sound Is our most indefinite conception

Music when combined with a pleasurable idea is poetry

Music without the idea is simply music

Without music or an intriguing idea

Colour become pallor

Man becomes carcass

Home becomes catacomb

And the dead are but for a moment motionless

Anyway, I bow to Alan Parson and his Alan Parsons Projects. I have learned a lot. 🙏💖

Sourses:

https://www.poetryfoundation.org/

https://en.wikipedia.org/wiki/A_Dream_Within_a_Dream

https://www.sparknotes.com/lit/poestories/section3/

Cléopâtre, The Sovereign Ruler

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5 facts about… Cleopatra - historyrevealed.com
http://History Revealed

I think that Queen Cleopatra is known for “almost” every human being around the world, therefore, I don’t have to tell much about her.

There are many puzzles about her although something is sure; she was one of the most beautiful and powerful women in history.

MEETING OF MARC ANTONY & CLEOPATRA ROMAN PAINTING ROME ART REAL CANVAS  PRINT - SaltLakeCo
http://SaltLakeCo Mark Antony visits Cleopatra, Sir Lawrence Alma-Tadema painting

Many directors and producers made so many movies (Hollywood Movies) about her and they tried to have the beautiful actresses for play in her place, especially, Elizabeth Taylor http://Elizabeth Taylor as I believe that she was not only beautiful but also impressive; She is one of my favourites.

Elizabeth Taylor Cleopatra Inspired Makeup - Makeup Madeover
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But just let have a look at this idea; is she with this face not closer than the others? 👇

Contrary to popular belief, Greek ruler Cleopatra could have been of African descent (via; FARIDA DAWKINS | Contributor)

http://Face2Face Africa

Cleopatra VII Philopator was the last active ruler of Ptolemaic Kingdom of Egypt. The Ptolemaic Kingdom was a Hellenistic kingdom based in Egypt. It was formed after the death of Alexander the Great in 323 BC and ended with the suicide of Cleopatra in 30 BC. She ruled from 69 to August 10/12, 30 BC.

But definitely, the bathing of Cleopatra has ever been the dreaming term in all history. Therefore, I have taken this story to share with you; a wonderful tell by Marc Chartier, Marc Chartier. translated from French.

Let’s take a closer look at this beauty. with thanks to Marc Chartier for this wonderful research. 🙏🙏💖

Baths of Cleopatra: one-third of water, two-thirds of legends

Inlay: Elizabeth Taylor,
in the movie “Cleopatra” directed by Joseph L. Mankiewicz (1963)

According to tradition, spread orally, Cleopatra VII, queen of Egypt, maintained her beauty with baths in donkey milk … or mud from the Dead Sea.
But one can easily imagine that the sublime sovereign, in addition to this cosmetic luxury, also had recourse to more common baths, with quite simply clear water. In any case, the places known as “Cleopatra’s baths” (in addition to making flourish in our modern advertisements!) Appear in certain localities which thus want to keep the memory – no doubt generously embellished by some legend and possible tourist targets – royal ablutions.

We will only take two here.

Siwa Oasis

First Siwa, 590 km west of Alexandria and 300 km from Marsa Matrouh. This oasis is famous for its many hot springs to which we attribute therapeutic virtues, the most famous being that of Aïn el-Hammam (“the source of the baths”), formerly called “source of the sun”, and today hui “Cleopatra’s baths”. The queen is said to have bathed there when she came to the site to consult the oracle of Amon in the temple dedicated to this deity. In ancient times, the spring water was known to be cold during the day and hot at night, because the sun went down there in the evening and found its course in the early morning.
The “Petit Futé Sahara” (2011 edition) continues to praise the “limpid and light water, incredibly transparent” of this natural swimming pool, to such an extent that “there is no danger of taking a sip ”.

Second place: Alexandria.

The Plage of Bains de Cléopâtre and the so-called Sarrazine tower, at Ramleh station

In his “Letters on Egypt” (1785), Claude Savary describes the site in these terms: “Half a league south of the city, we descend into the catacombs, a former asylum for the dead. Winding paths lead to underground caves where they were deposited. (…) Going towards the sea, we find a large basin dug in the rock, which borders the shore: on the sides of this basin, we have chiselled two pretty rooms, with benches crossing them. A channel made in zigzag, so that the sand stops in the bends, leads there the water of the sea: it comes there pure and transparent like crystal. I took a bath there. Sitting on the stone bench, we have water a little above the waist. The feet rest softly on fine sand. We hear the waves rustling against the rock, and quivering in the canal. The flood enters, lifts you, withdraws, and going in and out in turn, brings ever new water, and a delicious freshness, under a blazing sky. This place is vulgarly called Cleopatra’s bath. Ruins indicate that it was once adorned. “

In 1840, in his “Overview on Egypt”, Antoine-Barthélemy Clot-Bey adds an important nuance to this story: “Between the catacombs and Alexandria are on the shore a few baths eaten away by the action of the water, which ‘we have pompously, and probably wrongly, decorated with the name of Cleopatra’s baths. ”

Another detail is provided to us by Ange de Saint-Priest in his “Encyclopedia of the nineteenth century” (1846) when he wrote: “On the seashore, artificial excavations had been made in the rock, in shaped like bathtubs, and which we call the Baths of Cleopatra. These baths were said to wash the dead before they were given to burial. “

The proximity between the baths and the catacombs had previously inspired Guillaume-Antoine Olivier, in his “Voyage in l’Empire Othoman, l’Égypte et la Persia” (1804), the following reflections: “It does not seem probable to us, according to the idea that History gives us of Cleopatra, that this queen, so magnificent and voluptuous, would have chosen for the ordinary field of her recreations the neighbourhood of the dead, this place of solitude, silence and meditation. (…) How can we be persuaded, moreover, that this young and beautiful woman would have been careless enough about the freshness of her complexion to expose it to contact with salt water, usually taking sea baths in a place that responded so badly to the magnificence it displayed?

Where is the historical truth? Did the sublime Cleopatra take pleasure in diversifying both nature and the place of her beauty treatments?
Let us agree that we like to leave the question open and since we are immersed – or not far from it – in full imagination, let ourselves be subjugated by the poetic impulses of Théophile Gautier when he writes, in “Une Nuit de Cléopâtre” (1838):

“It was bath time. Cleopatra went there with her women. The baths of Cleopatra were built in vast gardens filled with mimosas, carob trees, aloes, lemon trees, Persian apple trees, the luxuriant freshness of which made a delicious contrast with the aridity of the surroundings. (…) [Cleopatra] was standing on the first step of the basin, in an attitude full of grace and pride; slightly arched back, foot suspended like a goddess who is about to leave her pedestal and whose gaze is still in the sky; two superb folds started from the points of her throat and slipped in a single jet to the ground. (…) Before entering the water, by a new whim, she tells Charmion to change her hairstyle with silver nets; she preferred a crown of lotus flowers with rushes, like a marine deity. Charmion obeyed; her loose hair flowed in black cascades over her shoulders and hung in clusters like ripe grapes down her beautiful cheeks. Then the linen tunic, held only by a gold clip, came loose, slipped down her marble body, and fell in cloudy white at her feet like the swan at Leda’s feet. (…) Cleopatra dipped her ruddy heel in water and went down a few steps; the quivering wave made her a belt and silver bracelets, and rolled in pearls over her breast and shoulders like an unmade necklace; her long hair, lifted by the water, stretched out behind her like a royal cloak; she was queen even in the bath. She came and went, plunged and brought back from the bottom in her hand’s handfuls of gold powder which she threw, laughing at one of her women; at other times she hung on the balustrade of the basin, hiding and uncovering her treasures, sometimes showing only her polished and lustrous back, sometimes showing herself whole like Venus Anadyomene, and constantly varying the aspects of her beauty.

Marc Chartier

Sourses:

https://egyptophile.blogspot.com/

https://egyptophile.blogspot.com/2015/09/bains-de-cleopatre-un-tiers-deau-deux.html

https://www.facebook.com/marc.chartier.77?__cft__[0]=AZWLdP8GFiIdsGYBX-jNB71h_BsAo97G5zRq896Wg8vL9SOhSLflQJpNBYbfCP7yJrL4mW5dPiDiJ9DfAVtqcuo60IuOpgSuvlZwysWD_OiIU9nX3r8FCaf1DF7XDz2d7YlYy5DUioJeUiNVYXW4fNYm7bwKY0EFJAzv62LRtnFII0gjanclCezMAxsLErtZG2k&__tn__=-UC%2CP-R

No Imagination: No Arts, No Science!

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47 Fantasy Quotes That You Need to Hear! in 2020 | Fantasy quotes ...
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I think as I believe that all process of the human had based on its imagination. All the inventions, discoveries and of course its creations: Art. This power is a present given by God or what so ever, to us to do our works as the Creator self do; to create!

Thich Nhat Hanh Quote: “It is said that God has created man in his own  image. But it may be that humankind has created God in the image of  human...” (12 wallpapers) -
http://Quotefancy

Unfortunately, it doesn’t go well sometimes as we can see in the whole history of man, even now! And it is not the fault of imagination itself but the failure of the education.
Nevertheless, the imagination is very important especially at the beginning as a child. All the children have imagination but there are some parents who don’t take them seriously and these are the lost people who have lost their power of creation; they have lost everything!

The power of imagination caused fantasy to create Art. Art is the blood in the veins in our soul, let it run!

“Without this playing with fantasy, no creative work has ever yet come to birth. The debt we owe to the play of the imagination is incalculable.” C. G. Jung
TOP 25 QUOTES BY MARIE-LOUISE VON FRANZ | A-Z Quotes
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For Al and me, we both might be lucky to grow up with and in our imaginations. Our mother was so busy with the problems which she had hard to solve, couldn’t care about the way how we go with our fantasies but we have used them and built our own world within them; to protect one and the other from the outer world, therefore, we became very solitude and lonesome. Our world was very different with the society in which we’d lived.

So then, let Fantasy go unlimited, to the world of Imagination. 🤗💖

By Craig Nelson http://Craig Nelson 🙏💖👇👇

“Fantasy need not always be verbal, nor must there be visual imagery. The account which translates an event into experience may be incorporated bodily through style, gesture, or ritual, like entering into a more subtle or skilled way of going about things. We feel we are getting into the secret of cooking, fingering an instrument, playing· ball, as we fantasy ourselves into a new style. Psychologizing breaks up repetitiveness; it is particularly effective when we perform one activity as if it were another, writing novels as if they were music (like Thomas Mann).”
James Hillman, Re-Visioning Psychology

The discovery of the alabaster sphinx in Memphis

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Museum Visitors to Experience the Great Sphinx of Giza in ...
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The Great Sphinx; or the Great Mystery of our history. Yes, there are many speculations about her but nobody ever knows when and how it’s made and what the purpose of making this giant sculpture was.

Anyway, these two smaller ones are obviously manmade and perhaps more recognizable but in any case great fonds for the archaeology.

translated from French, by; Marie Grillot http://Marie Grillot with thanks 🙏💖

https://egyptophile.blogspot.com/

The Sphinx of Memphis – Egyptian alabaster (calcite) – New Kingdom
unearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912
exhibited today in the open air museum of Memphis – Mit Rahineh

After having excavated a large number of sites, such as Tanis, Naucratis, Hawara, Arsinoe, Illahun, Meïdoum, Amarna, Koptos, Nagada, Thebes, Denderah, or even Giza, William Matthew Flinders Petrie arrives on ancient Memphis – Mit Rahineh – in 1908.

With his assistant, Ernest John Henry MacKay, a British archaeologist – who has worked alongside him since 1907 – he will make, until 1913, beautiful discoveries in the enclosure of the temple of Ptah.

The discoverers of the alabaster sphinx:
William Matthew Flinders Petrie and Ernest John Henri MacKay

Located south of Cairo, “Memphis was the city of the god Ptah with whom Sekhmet and Nefertoum were associated from the New Kingdom. The city, the ancient” White Wall “, was the capital of the country during the Old Kingdom and remained an essential seat of administration throughout the history of the Double Country. ” (Isabelle Franco).

If the site, even today, gives us so little of its past grandeur, we must imagine what Egyptologists then found: a palm grove, most often flooded, in which blocks or remains of stone emerge.

Excavations are hampered by the recurring problem of the presence of water: you have to constantly pump to lower the level and dry out the excavation field. Flinders Petrie recounts the organization put in place: “Such work below the water level was novel and required close organization. The ground was lowered about two feet, just above the water level. water: a drainage system was then put in place, from which the water was pumped with large rubber pumps day and night. “

The excavations will notably allow the discovery of two sphinxes.

“The other sphinx of Memphis” – pink granite from Asouan – New Kingdom
unearthed by William Matthew Flinders Petrie and Ernest Mackay in 1912
was donated in 1913 by the “British School of Archeology” (directed by M.W.F. Petrie) to the Penn Museum in Philadelphia

One, carved from a single block of pink granite from Aswan, measuring 3.62 in length and 1.45 m in height, was discovered in 1912. It bears inscriptions on the chest and around the base mentioning the names of Ramses II and his son Merenptah (although some believe that it was carved during a period prior to these two pharaohs). This sphinx, with a rather damaged face, will be offered in 1913 by the “British School of Archeology” (directed by M.W.F. Petrie) to the Penn Museum in Philadelphia.

The Sphinx of Memphis – Egyptian alabaster (calcite) – New Kingdomunearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912here shortly after its discovery, it is now on display in the open-air museum in Memphis – Mit Rahineh

As for the other sphinx, Ernest Mackay had, in 1911, noticed its tail protruding above the surface, but it will not be actually uncovered until the beginning of the summer of 1912. From a height of nearly 8 meters, 4.25 m wide, its weight is estimated at over 80 tonnes.

Curiously, Petrie will remain very discreet about this discovery and will be little talkative in his publications. “There are a variety of reasons for Petrie’s reluctance about the alabaster sphinx. One of the main reasons is that it is completely lacking in inscriptions and therefore Egyptologists could not, period, date it with certainty at the time. “

The Sphinx of Memphis – Egyptian alabaster (calcite) – New Kingdomunearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912exhibited in the open-air museum of Memphis – Mit Rahineh

It will be attributed to Hatschepsout (because of the style of the face), or even Sethi I (by ‘association’ with the fact that his sarcophagus was in alabaster). Finally, “despite the absence of any inscription on the sphinx, Egyptologists estimate the period in which it was carved in the New Kingdom because of the style of the sculpture”.

Different stages of the “recovery” of the Memphis sphinx – Egyptian alabaster (calcite) – New Kingdomunearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912it is now exhibited in the open-air museum in Memphis – Mit Rahineh

The colossal statue lay on a side, and in 1913 it was straightened and placed on blocks of stone.

The sphinx is a “hybrid” statue which is most often made up of a lion’s body on which a human-head rests. “The Egyptian sphinx was a protective and positive entity,” and it generally represented the “portrait” of the pharaoh to whom he was dedicated, or allied.

The Sphinx of Memphis – Egyptian alabaster (calcite) – New Kingdomunearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912exhibited in the open-air museum of Memphis – Mit Rahineh

The alabaster sphinx takes on the attributes of a pharaoh, the uraeus, the false beard, and the nemes whose mat rests on his back. He has a very noble look, the face is beautiful, and the enigmatic smile retains all its mystery … The front legs are extended while the rear legs are folded under the body. The statue and its base are carved from the same block of alabaster.

In the chapter he devotes to minerals in his General Overview on Egypt, Clot Bey indicates: “Egyptian alabaster has always enjoyed a great reputation. The ancients exploited a quarry located between the Red Sea and the Nor, at the height of Minieh, 40 leagues from the river and 15 from the sea. They had founded near her a city to which they gave the name of Alabastropolis. “

The Sphinx of Memphis – Egyptian alabaster (calcite) – New Kingdomunearthed by William Matthew Flinders Petrie and Ernest Mackay in the early summer of 1912exhibited in the open-air museum of Memphis – Mit Rahineh

This sphinx, the second in size after that of Giza, was then moved a few meters to be placed on a concrete base. It remained in Mit-Rahineh where it constitutes one of the most beautiful pieces of the open-air museum.

Marie Grillot http://Marie Grillot

Sources:

Seventy Years in Archaeology, William William Matthew Flinders Petrie, 1931.

Ancient Egypt”, William Matthew Flinders Petrie, 1930

The Sphinx That Traveled to Philadelphia – The Story of the Colossal Sphinx in the Penn Museum, Josef Wegner,Jennifer Houser Wegner, 2015

Dictionnaire de mythologie égyptienne, Isabelle Franco, 2013

Apercu général sur l’Égypte, A.-B. Clot-Bey “De Memphis à Philadelphie… le voyage d’un sphinx de Ramsès II” “The Journey From Egypt to Philadelphia of the Penn Museum’s Sphinx“, Jeanne Leong

Nature gives and takes, the Grief in which We must Grow.

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Nature is awful, and I often ask myself, should one not interfere? But one cannot really, it is impossible, because fate must be fulfilled.

It is apparently more important to nature that one should have consciousness, understanding, than to avoid suffering. Carl Jung, Zarathustra Seminar, Pages 1415-1416. C.G.Jung on Maya and the great illusion https://carljungdepthpsychologysite.blog/2020/08/20/carl-jung-on-maya-and-the-great-illusion/#.Xz-XwMgzbct By http://Mr. Purrington ( Lewis Lafontaine)

Hello friends! The main reason for this post of mine is at first a letter of Al; my brother, to a common friend which I have found lately in my documents and secondly, the question on what cause more suffering; the loss of a child or the loss of parents.

Without a doubt that Grief is always a part of our life but there is different reasons to grief I think. As I was doing my job as a taxi driver, I had many elder customers (especially aged women) who were living alone and willingly told me their stories about their days and their years and their life. They did it with pleasure because I am a good listener; my pitifulness did it well to them but a few had told me about their loss of a child and I think it is a very painful loss for us all; To lose a partner or parent is surely painful but somehow understandable, to lose your born child is like to lose the result of your life!

http://Zarathustra Seminars

For example; I get and read the posts by MeRaw ( MeRaw) http://alienblob.com/author/mrsrawlings/ She is a wonderful writer, poetess, with beautiful pictures and a sorrowful mother as you might know her and see that she is always and still grieving for the loss of his Son. I wish her mercy and blessing. 🙏💖

I accepted the chaos, and in the following night, my soul approached me. ~Carl Jung; Red Book.

Now to the first reason; Al’s letter. He wrote it to a very lovely and unique friend when her father died to comfort her. I have found this first in his papers when he left me and it hit my heart so that I had translated to German and gave it to many friends to read it!
Now I’d like to share it here too, with you. Thank you for have a look at it.

25 Rumi Quotes To Inspire You | Spirit Button
http://Spirit Button

Der Trost

All-day long I thought of you and tried to put myself in your position. It was a stupid idea! When I was eight years old my father died and when I was 21 years old my mother died. Explaining the death of father for an eight-year-old boy is not that easy. Especially my mother’s weird behaviour, as she was hiding the fact from me and Aladin. When I think back and look at myself as a boy in the misty thoughts of the past, I see him standing confused in a corner and he doesn’t exactly know if he even belongs to this world or not ?!
For a 21-year-old it is even more complicated because in this full energetic and fun-loving youth he suddenly sees how the fresh green leaves of his tree of life take on yellowish tones. There was once an aunt of mine whom I was very fond of. She told Aladin and me to comfort us that the death of the parents was just. Because they don’t have to witness the death of their children. Don’t know … maybe there is no justice at all, or justice is nature itself: the creator and the annihilator.
I know a very interesting man named Eugen Drewermann, professor of theology, he was in the service of the Catholic Church. But he got kicked out by the Vatican 8 or 9 years ago for agreeing to condom use. He says:
“We have to look at all things from the view of nature. Death is part of nature, hence part of life. Nature gives birth and buries us; it is like a river that always has to run. Man is a small part of nature. What is written in the Old and New Testaments about the centralization of the earth in the universe and about the first creatures, all of this, is covered by a religious license for the exploitation of nature. We have to accept life as it is, not as we want to see it. When nature looks so brutal with its giving and taking, it gives us the phenomenon of love. To love and live in love with others, this is how one comes to the meaning of God.”
Perhaps this brings you no consolation or perhaps that consolation is ineffective for you, but what is important here and now is that you live and must continue to live. Not just for yourself, but for those you love and those who love you. Your existence helps them to better fill their own lives. Live as far as you can!

The Leaves That Are Green

Simon & Garfunkel

I was twenty-one years when I wrote this song
I’m twenty-two now but I won’t be for long
Time hurries on
And the leaves that are green
Turn to brown
And they wither with the wind
And they crumble in your hand
Once my heart was filled with the love of a girlI held her close but she faded in the night
Like a poem I meant to write
And the leaves that are green
Turn to brown
And they wither with the wind
And they crumble in your hand
I threw a pebble in a brook
And watched the ripples run away And they never made a sound
And the leaves that are green
Turn to brown
And they wither with the wind
And they crumble in your hand
Hello, hello, hello, hello
Goodbye, goodbye, goodbye, goodbye
That’s all there is
And the leaves that are green
Turn to brown

Source: LyricFindSongwriters: Paul SimonThe Leaves That Are Green lyrics © Universal Music Publishing Group

https://carljungdepthpsychologysite.blog/

https://en.wikipedia.org/wiki/Eugen_Drewermann