The Jolly Swagman

Oh, he was old and he was spare; His bushy whiskers and his hair Were all fussed up and very grey He said he'd come a long, long way And had a long, long way to go. Each boot was broken at the toe, And he'd a swag upon his back. His billy-can, as black as black, Was just the thing for making tea At picnics, so it seemed to me. 'Twas hard to earn a bite of bread, He told me.  Then he shook his head, And all the little corks that hung Around his hat-brim danced and swung And bobbed about his face; and when I laughed he made them dance again. He said they were for keeping flies - "The pesky varmints" - from his eyes. He called me "Codger". . . "Now you see The best days of your life," said he. "But days will come to bend your back, And, when they come, keep off the track. Keep off, young codger, if you can." He seemed a funny sort of man. He told me that he wanted work, But jobs were scarce this side of Bourke, And he supposed he'd have to go Another fifty mile or so. "Nigh all my life the track I've walked," He said.  I liked the way he talked. And oh, the places he had seen! I don't know where he had not been - On every road, in every town, All through the country, up and down. "Young codger, shun the track," he said. And put his hand upon my head. I noticed, then, that his old eyes Were very blue and very wise. "Ay, once I was a little lad," He said, and seemed to grow quite sad. I sometimes think: When I'm a man, I'll get a good black billy-can And hang some corks around my hat, And lead a jolly life like that.

Donna's Ascent

Allegro di molto e con brio

fur es

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International Journal of Psycho-Analysis

(1927). International Journal of Psycho-Analysis, 8:534-536

Sexuality: Guy B. Johnson. Double Meaning in the Popular Negro Blues. The Journal of Abnormal and Social Psychology, Vol. XXII, No. 1, 1927.

Abstract by: D. B.

The author presents certain data to show the undoubted presence of double meanings of a sexual nature in the blues. He says that the blues arising originally from the common negro folk have been widely exploited as a form of popular song. The blues deal with the man-woman relation, and the double meanings may be divided into two general groups:—

1. Those meanings pertaining specifically to the sex organs.

2. Those relating to the sex act or to some other aspect of sex life.

Relatively few symbols for the sex organs are found in the blues, and by far the most common of these terms is jelly roll. This term as used by the lower class negro stands for the vagina, or for the female genitalia in general, and sometimes for sexual intercourse. The following lines illustrate the use of jelly roll in these songs:—

1. I ain\'t gonna give nobody none o\' this jelly roll.
Nobody in town can bake sweet jelly roll like mine.
Your jelly roll is good.

2. I don\'t know but I\'ve been tol\',
Angels in heaven do the sweet jelly roll.

3. Dupree was a bandit,
He was brave an\' bol\',
He stole that diamon\' ring
For some of Betty\'s jelly roll.

Another term for the female organs is cabbage. Other symbols are keyhole and bread. The latter, sometimes found as cookie and cake, is almost as common as jelly roll in everyday negro slang.

Symbols for the male organs are more difficult to find and it is doubtful, the author says, if there is a clear-cut example of male symbolism in the blues.


WARNING! This text is printed for the personal use of the subscriber to PEP Web and is copyright to the Journal in which it originally appeared. It is illegal to copy, distribute or circulate it in any form whatsoever.
- 534 -

Expressions with double meanings which relate to the act of sexual intercourse are much more numerous in the blues than are symbols for the sex organs. The word jazz heads this list. It is used both as verb and noun to denote the sex act among the negroes of the South. In a footnote the author says that jazz music originated in negro pleasure houses, \'jazz houses\', as they are sometimes called by negroes.

The majority of the expressions in the blues relating to the sex act are sung from the point of view of the woman, and are mostly concerned with the quality of the movements made by the male during coitus. The following expressions are frequent. \'My man rocks me with one steady roll\'. Here are some folk stanzas which show the line of thought in the undeleted versions:—

Looked at the clock, clock struck one,

Come on, daddy, let\'s have some fun.

Looked at the clock, clock struck two,

Believe to my soul you ain\'t half through.

Looked at the clock, clock struck three,

Believe to my soul, you gonna kill poor me.

Looked at the clock, clock struck four,

If the bed breaks down we\'ll finish on the floor.

My daddy rocks me with one steady roll,

Dere ain\'t no slippin\' when he once takes hold.

\'Do it a long time, papa\'. In the popular song one is led to believe that \'do it\' refers to something innocuous like kissing or dancing, but this is not the case amongst the negroes. \'Daddy, ease it to me\', \'Play me slow\', and \'Easy rider\', are frequent expressions. The last one is frequently met with both in negro folk songs and in formal songs. \'I wonder where my easy rider\'s gone\', is a sort of by-word with Southern negroes.

\'Shake it\', \'Shake that thing\', etc., are very frequent in the blues. Ostensibly they refer to dancing, but they are really negro vulgar expressions relating to coitus. The following is a stanza from a recent popular piece:—

Why, there\'s old Uncle Jack,

The jelly-roll king,

Got a hump on his back

From shakin\' that thing,

Yet he still shakes that thing.

For an ole man how he can shake that thing!

An\' he never gets tired o\' tellin\' young folks how to shake that thing.

In a footnote the author refers to the expression \'shake the shimmy\'. Chemise is pronounced \'shimmy\' by most negroes and a great many whites in the South. In its original meaning it described the effect produced


WARNING! This text is printed for the personal use of the subscriber to PEP Web and is copyright to the Journal in which it originally appeared. It is illegal to copy, distribute or circulate it in any form whatsoever.
- 535 -

when a woman made a movement or did a dance step which caused her breasts to shake. This caused her \'shimmy\' to shake.

\'Mama\'s got something I know you want\'. This meaning is clear from the concluding stanza of the popular song:—

Mama\'s got something sho\' gonna surprise you,

Mama\'s got something gonna hypnotize you,

Mama\'s got something I know you want.

The following lines from the popular blues are obviously of a sexual nature:—

It\'s right here for you; if you don\'t get it, \'tain\'t no fault of mine.

I\'m gonna see you when your troubles are just like mine.

If I let you get away with it once, you\'ll do it all the time.

You\'ve got what I\'ve been looking for.

How can I get it when you keep on snatching it back?

Put it where I can get it.

If you don\'t give me what I want, I\'m gonna get it somewhere else.

The author mentions another point that tends to substantiate the origin of some of the blues from the songs of the negro underworld. He says that negro churchmen and educators vigorously oppose the singing of the blues. Their opposition is undoubtedly due to the fact that they are fully acquainted with the undercurrent of vulgarity which runs through many of these songs.

The author thinks that the popularity of these songs is evidently due to the fact that the white man enjoys seeing the other meaning in them.


WARNING! This text is printed for the personal use of the subscriber to PEP Web and is copyright to the Journal in which it originally appeared. It is illegal to copy, distribute or circulate it in any form whatsoever.
- 536 -

TC - Turkish Language Lessons

Turkish is from a different language family called Ural-Altaic languages. Some languages similar to Turkish are \'Finnish, Hungarian, Estonian, Japanese, Korean, Mongolian, Kazak, Uzbek, Tatar, Manchu\'. Compared to English, the most fundamental differences in Turkish grammar can be listed as:

*

Ordering of sentence parts
o

A typical Turkish sentence is ordered as (subject + object + verb)
+

Arkadaşım [My friend --> subject] araba [car -->object] aldı [bought-->verb].
*

No gender
o

There are no articles in Turkish, and no gender associated with words
o

No gender in personal pronouns (the Turkish word for \'he\', \'she\' and \'it\' is \'o\')
*

Vowel harmony
o

Harmony of vowels is a very fundamental property of Turkish. The rules concerning vowel harmony need to be learned as one of the first steps because they affect the way almost all the other rules are applied.
*

Use of suffixes
o

Suffixes are very widely used in Turkish. The meaning of prepositions, personal pronouns and tenses are all countered by adding suffixes to word roots.
+

Kalbimdesin [You are in my heart]

Three letters of the English alphabet are missing in the Turkish alphabet.

1. (Q-q)
2. (W-w)
3. (X-x)



There are seven additional characters not found in the English alphabet.

1. (Ç-ç)
2. (Ğ-ğ)
3. (I-ı)
4. (İ-i)
5. (Ö-ö)
6. (Ş-ş)
7. (Ü-ü)


Letter Pronunciation
A, a

like the a in car
B, b like the b in bet
C, c like the g in gender
Ç, ç like the ch in chance
D, d like the d in debt
E, e like the e in less
F, f like the f in felony
G, g like the g in game
Ğ, ğ this is a very weak sound, not pronouncing at all will be ok
H, h like the h in hello
I, ı like the e in halted
İ, i like the ee in keen
J, j like the ge in garage
K, k

like the k in kelly
L, l like the l in lamb
M, m like the m in man
N, n like the n in neighbor
O, o like the a in ball
Ö, ö like the u in urge
P, p like the p in pen
R, r like the r in rent
S, s

like the s in send
Ş, ş like the sh in shed
T, t like the t in tennis
U, u like the oo in good
Ü, ü like the u in nude
V, v like the v in vent
Y, y like the y in yes
Z, z like the z in zen
++++

i ben i am adjective ben adjective-im
you sen you are adjective sen adjective-sin
he

she

it
o he \

she | is adjective

it /
o adjective
we biz we are adjective biz adjective-iz
you siz you are adjective siz adjective-siniz
they onlar they are adjective onlar adjective-ler

güzel --> beautiful

I am beautiful. --> Ben güzel-im. --> Güzelim. (Personal pronoun is implied)

You are beautiful. --> Sen güzel-sin. --> Güzelsin.

He/she/it is beautiful. --> O güzel. --> Güzel.

We are beautiful. --> Biz güzel-iz. --> Güzeliz.

You are beautiful. --> Siz güzel-siniz. --> Güzelsiniz.

They are beautiful. --> Onlar güzel-ler. --> Güzeller.



kötü --> bad

I am bad. --> Ben kötü-y-üm. --> Kötüyüm. (Note how kötü and -üm are connected with the fusion consonant 'y'.)

You are bad. --> Sen kötü-sün. --> Kötüsün.

He/she/it is bad. --> O kötü. --> Kötü.

We are bad. --> Biz kötü-y-üz. --> Kötüyüz.

You are bad. --> Siz kötü-siniz. --> Kötüsünüz.

They are bad. --> Onlar kötü-ler. --> Kötüler.



geliyor --> coming (present continuous tense)

I am coming. --> Ben geliyor-um. --> Geliyorum.

You are coming. --> Sen geliyor-sun. --> Geliyorsun.

He/she/it is coming. --> O geliyor. --> Geliyor.

We are coming. --> Biz geliyor-uz. --> Geliyoruz.

You are coming. --> Siz geliyor-sunuz. --> Geliyorsunuz.

They are coming. --> Onlar geliyor-lar. --> Geliyorlar.

For nouns other than these pronouns, you must use the third person case.

Marzena is beautiful. --> Marzena güzel.

Marzena is very beautiful. --> Marzena çok güzel.

Joe is bad. --> Joe kötü.

Joe is coming. --> Joe geliyor.
Demonstrative pronouns

These are the pronouns used for obects instead of people.
this bu
that (between this and that) şu
that o
these bunlar
those (between these and those) şunlar
those onlar

kitap --> book

Bu bir kitap. --> This is a book.

Şu bir kitap. --> That is a book.

O bir kitap. --> That is a book.

Bunlar kitaplar. --> These are books.

Şunlar kitaplar. --> Those are books.

Onlar kitaplar. --> Those are books.


Possessive Pronouns
Personal posessive pronouns:
my ben-im my noun ben-im noun-im
your sen-in your noun sen-in noun-in
his
her
its
o-n-un his \
her | noun
its /
o-n-un noun-i
our biz-im our noun biz-im noun-imiz
your siz-in your noun siz-in noun-iniz
their onlar-ın their noun onlar-ın noun-leri

Notice his/her/its is o-n-un instead of o-un. Since two vowels don't come together in Turkish, one fusion consonant is added in between. It is 'n' in this case. Either a fusion consonant is added in between, or one of the vowels is dropped whenever a vowel is followed by another vowel.

ev --> house

my house --> ben-im ev-im --> evim (personal pronoun is implied)

your house --> sen-in ev-in --> evin

his/her/its house --> o-n-in ev-i --> onun evi --> evi

our house --> biz-im ev-imiz --> evimiz

your house --> siz-in ev-iniz --> eviniz

their house --> onlar-ın ev-leri --> evleri



araba --> car

my car --> ben-im araba-m --> arabam (the suffix -im becomes -m when added after a vowel, since two vowels don't come together in Turkish)

your car --> sen-in araba-n --> araban

his/her/its car --> o-n-in araba-s-ı --> onun arabası --> arabası (Instead of dropping one vowel, here the fusion consonant 's' is added between vowels since the suffix is only a single vowel.)

our car --> biz-im araba-mız --> arabamız

your car --> siz-in araba-nız --> arabanız

their car --> onlar-ın araba-ları --> arabaları



For nouns other than these pronouns, always the third person form is used.

Gizem's house --> Gizem'in evi

Gizem's car --> Gizem'in arabası

My mother's house --> Annemin evi
Demonstartive posessive pronouns:
of this bu-n-un
of that (between this and that) şu-n-un
of that o-n-un
of these bunlar-ın
of those (between these and those) şunlar-ın
of those onlar-ın

Bunun evi --> The house of this

Şunun evi --> The house of that

Onun evi --> The house of that

Bunların evleri --> The house of these.

Şunların evleri --> The house of those.

Onların evleri --> The house of those.

++++
For nouns other than these pronouns, always the third person form is used.

The room of the house --> Evin odası

Cat's food --> Kedinin yemeği


Reflexive Pronouns

The way reflexive pronouns are constructed in Turkish is very similar to the way we do it in English. The Turkish word for self is kendi. The reflexive pronouns hence are as follows:
myself kendi-im kendim
yourself kendi-in kendin
himself
herself
itself
kendi-si kendisi
ourselves kendi-imiz kendimiz
yourselves kendi-iniz kendiniz
themselves kendi-leri kendileri

+++

:

*

Personal pronouns (ben, sen, o, biz, siz, onlar)
*

Demonstrative pronouns (bu, şu, o, bunlar, şunlar, onlar)
*

Possessive pronouns
o

Personal possessive pronouns (benim, senin, onun, bizim, sizin, onların)
o

Demonstrative possessive pronouns (bunun, şunun, onun, bunların, şunların, onların)
*

Reflexive pronouns (kendim, kendin, kendisi, kendimiz, kendiniz, kendileri)

There are also other pronouns used for many different situations, like everybody, nothing... Let's now see the Turkish meanings for these pronouns.
English Turkish
Basic components of these pronouns
every her
thing şey
none hiç
any herhangibir
one, a bir
some bazı
all bütün
Pronouns
everything herşey
something birşey (singular)

birşeyler (plural)
nothing hiçbir şey
anything herhangibir şey
everybody herkes
somebody birisi (singular)

birileri (plural)
nobody hiç kimse
anybody herhangi birisi
all of these (bunların) hepsi
all of those (onların) hepsi
all of us hepimiz
all of you hepiniz
none of these (bunların) hiçbiri
none of those (onların) hiçbiri
none of us hiçbirimiz
none of you hiçbiriniz
some of these (bunların) bazıları
some of those (onların) bazıları
some of us bazılarımız
some of you bazılarınız



In English, some of these pronouns that have negative meanings are used in positive sentences. For example,

There is nobody here. (Instead of there isn't nobody here)

In Turkish, you never do this. If the meaning of a pronoun is negative, it must always be used in a negative sentence. Similarly, pronouns with positive meanings must always be used in positive sentences.

There is nobody here. --> Burada hiçkimse yok.



Now, let's use some of these pronouns in sentences:

Every flower does not smell. --> Her çiçek kokmaz.

What is this thing? --> Bu şey ne?

There is none left. --> Hiç kalmadı.

Some students are here. --> Bazı öğrenciler burada.

All students are here. --> Bütün öğrenciler burada.

Everything's ok. --> Herşey yolunda.

Everything is here. --> Herşey burada.

Ask something. --> Birşey sor.

I saw nothing. --> Hiçbir şey görmedim.

Is there anything? --> Herhangibir şey var mı?

Is everybody here? --> Herkes burada mı?

Somebody came. --> Birisi geldi.

Nobody came. --> Hiç kimse gelmedi.

Anybody can come. --> Herhangi birisi gelebilir.

All of these are mine. --> Bunların hepsi benim.

καλὸν γὰρ τὸ ἆθλον καὶ ἡ ἐλπὶς μεγάλη

I'm the boy, that can enjoy invisibility
I'm the boy, le garçon qui a le don d'invisibilité,
Ombre parmi les ombres des nocturnes torrides,
Je me perds dans mon ombre pour atteindre au sordide
Masque parmi les masques, tragique ou d'amertune,
Le cuir noir et les casques, scintillant sous la lune,
Ame parmi les ames, febriles dans leur angoisse,
Lorsque brille lame ou un regard salace
Homme parmi les hommes, dans le noir ou l'ivoire,
Recherchant les symptomes d'orgasmes illusoires,
Putain parmi les putes, j'enfonce dans la fange,
Ou s'etreignent les brutes et se saignent les anges,
I'm the boy, that can enjoy invisibility
I'm the boy, le garçon qui a le don d'invisibilité.

 

Joyce - Music: Pomes Penyeach

le garçon qui a le don d'invisibilité, · Ombre parmi les ombres des nocturnes torrides,

ANTILIMIT | creative imagery by Eric M Gustafson

Talent (measurement) - Wikipedia, the free encyclopedia

An ancient Greek amphora. A talent was approximately the mass of the water required to fill an amphora

The talent (Latin: talentum, from Ancient Greek: τάλαντον "scale, balance") is one of several ancient units of mass, as well as corresponding units of value equivalent to these masses of a precious metal.[1] It was approximately the mass of water required to fill an amphora.[1] A Greek, or Attic talent, was 26kg,[2] a Roman talent was 32.3 kg, an Egyptian talent was 27 kg,[2] and a Babylonian talent was 30.3kg.[3] Ancient Israel adopted the Babylonian talent, but later revised the mass.[4] The heavy common talent, used in New Testment times, was 58.9 kg.[4]

An Attic talent of silver had a purchasing power of approximately $20,000 in 2004 money.[5] It was also the value of nine man-years of skilled work.[6] During the Peloponnesian War, an Attic talent was the amount of silver that would pay a month's wages of a trireme crew.[7] Hellenistic mercenaries were commonly paid one drachma per day of military service. There were 6,000 drachmae in an Attic talent.

The Babylonians, Sumerians, and Hebrews divided a talent into 60 mina, each of which was subdivided into 60 shekels. The Greek also used the ratio of 60 mina to one talent. A Greek mina was approximately 434 ± 3 grams. A Roman talent was 100 libra. A libra is exactly three quarters of a Greek mina, so a Roman talent is 1.25 Greek talents. An Egyptian talent was 80 libra.[2]

The talent as a unit of value is mentioned in the New Testament in Jesus's parable of the talents.[8] This parable is the origin of the sense of the word "talent" meaning "gift or skill" as used in English and other languages. Luke includes is a similar parable with different details involving the mina.[9] The talent is also used elsewhere in the Bible, as when describing the material invested in the dwelling of the commandments.[10] Solomon received 666 gold talents a year.[11]

Southern Wildlife - ibex, sheep, jackals, camels, shepherd (BiblePlaces.com)

Ibex

Ibex are a large species of wild goat. Their Hebrew and Arabic names both mean "to ascend." Dependent on water, the group travels together to a water hole. One member of the group will keep watch and whistle if danger approaches, telling the herd to race to the cliffs. The cliffs are their safety because of their strong agile legs and grooved hooves, allowing them to climb on the rocks in difficult areas.

Psalm 104:18 (KJV) “The high hills are a refuge for the wild goats; and the rocks for the conies.”

Machtesh Ramon (BiblePlaces.com)

Machtesh Ramon


Peaks of ancient volcanoes, jagged chunks of quartzite, huge blocks of overturned rock, and beds of multicolored clays are just a few of the sites in the machtesh. Machtesh Ramon was expected to have an abundance of natural resources, but it has been disappointing that regard. Only small factories of raw materials, such as quartz and clay, are mined there today.

Mindorenian Tour « Mindorenian’s Community

-MASADA ISRAEL-

Masada (Hebrew מצדה, pronounced Metzada, from מצודה, metzuda, “fortress”) is the name for a site of ancient palacesfortifications in the South District of Israel on top of an isolated rock plateau, or large mesa, on the eastern edge of the Judean Desert overlooking the Dead Sea. After the First Jewish-Roman War (also known as the Great Jewish Revolt) a siege of the fortress by troops of the Roman Empire led to the mass suicide of Jewish rebels, who preferred death to surrender.

DeadSea on Wiki Biblical Places Images




The Dead Sea (Hebrew: יָם הַ‏‏מֶ‏ּ‏לַ‏ח‎, Yām Ha-Melaḥ, "Sea of Salt"; Arabic: البَحْر المَيّت‎, al-Baḥr l-Mayyit, "Dead Sea";) is a salt lake between Israel and the West Bank to the west, and Jordan to the east. It is 422 metres (1,385 ft) below sea level,^[2] and its shores are the lowest point on the surface of Earth on dry land. The Dead Sea is 378 m (1,240 ft) deep, the deepest hypersaline lake in the world. It is also one of the world's saltiest bodies of water, with 33.7% salinity. Only Lake Assal (Djibouti), Garabogazköl and some hypersaline lakes of the McMurdo Dry Valleys in Antarctica (such as Don Juan Pond and perhaps Lake Vanda) have a higher salinity. It is 8.6 times as salty as the ocean.^[3] This salinity makes for a harsh environment where animals cannot flourish, hence its name. The Dead Sea is 67 kilometres (42 mi) long and 18 kilometres (11 mi) wide at its widest point. It lies in the Jordan Rift Valley, and its main tributary is the Jordan River.

Dead Sea, Jordan

Deep in the Jordan Valley and 55 km southeast of Amman, is the Dead Sea, one of the most spectacular natural and spiritual landscapes in the whole world. It is the lowest body of water on earth, the lowest point on earth, and the world's richest source of natural salts, hiding wonderful treasures that accumulated throughout thousands of years.

To reach this unique spot, the visitor enjoys a short 30 minutes drive from Amman, surrounded by a landscape and arid hills, which could be from another planet. En route a stone marker indicates "Sea Level", but the Dead Sea itself is not reached before descending another 400 meters below this sign.

The sunset touching distant hills with ribbons of fire across the waters of the Dead Sea brings a sense of unreality to culminate a day's visit to this region. It is normally as calm as a millpond, with barely a ripple disturbing its surface, but it can become turbulent. During most days, however, the water shimmers under a beating sun. Where rocks meet its lapping edges, they become snow-like, covered with a thick, gleaming white deposit that gives the area a strange and surreal sense.

Scientifically speaking, its water contains more than 35 different types of minerals that are essential for the health and care of the body skin including Magnesium, Calcium, Potassium, Bromine, Sulfur, and Iodine. They are well known for relieving pains and sufferings caused by arthritis, rheumatism, psoriasis, eczema, headache and foot-ache, while nourishing and softening the skin. They also provide the raw materials for the renowned Jordanian Dead Sea bath salts and cosmetic products marketed worldwide.

A unique combination of several factors makes Dead Sea's total attraction: the chemical composition of its water, the filtered sunrays and oxygen-rich air, the mineral-rich black mud along the shoreline, and the adjacent fresh water and thermal mineral springs.

Although sparsely populated and serenely quiet now, the area has a historical and spiritual legacy of its own. It is believed to be the site of five biblical cities: Sodom, Gomorrah, Admah, Zebouin and Zoar.

Dead Sea Also known as Bahr Lut, Eastern Sea, Lake of Asphalt, Salt Sea, “Sea of Sodom and Gomorrah,” Sea of the Arabah, Sea of the Devil, “Sea of the Plain,” Sea of Zoar, Stinking Lake

Names of the Sea Known in the Bible as the "Salt Sea" or the "Sea of the Arabah," this inland body of water is appropriately named because its high mineral content allows nothing to live in its waters. Other post-biblical names for the Dead Sea include the "Sea of Sodom," the "Sea of Lot," the "Sea of Asphalt" and the "Stinking Sea." In the Crusader period, it was sometimes called the "Devil's Sea." All of these names reflect something of the nature of this lake.

Biblical Period The Dead Sea, unlike the Sea of Galilee to the north, does not figure prominently in the biblical narratives. Its most important role was as a barrier, blocking traffic to Judah from the east. An advancing army of Ammonites and Moabites apparently crossed a shallow part of the Dead Sea on their way to attack King Jehoshaphat (2 Chron 20). Ezekiel has prophesied that one day the Dead Sea will be fresh water and fishermen will spread their nets along the shore.

Lowest Point The Dead Sea is located in the Syro-African Rift, a 4000-mile fault line in the earth's crust. The lowest point of dry land on earth is the shoreline of the Dead Sea at 1300 feet below sea level. That the lake is at the lowest point means that water does not drain from this lake. Daily 7 million tons of water evaporate but the minerals remain, causing the salt content to increase. Figures for the Dead Sea's salinity today range from 26-35%.

Mineral-Rich Nearly ten times as salty as the world's oceans and twice as saline as the Great Salt Lake in Utah, the Dead Sea is rich with minerals. The Dead Sea Works company on the southwest side of the lake employs 1600 people around the clock to harvest the valuable minerals from the water. Potash is the most valuable of those extracted today and is used in the manufacture of fertilizer. The best article on the minerals in the Dead Sea is in the Encyclopedia Britannica.

Healthy Water The unique concentration of the Dead Sea waters has long been known to have medicinal value. Aristotle, Queen of Sheba, King Solomon and Cleopatra were all familiar with this and modern doctors as well often prescribe patients with skin ailments to soak in the waters of the Dead Sea. Because of the dropping level of the Dead Sea, the southern end is no longer under water, except for that which is channeled by aqueducts for the purpos

Let us not slip the occasion

Image via Wikipedia

Fall'n Cherube, to be weak is miserable
Doing or Suffering: but of this be sure,
To do ought good never will be our task,
But ever to do ill our sole delight,
As being the contrary to his high will
Whom we resist. If then his Providence
Out of our evil seek to bring forth good,
Our labour must be to pervert that end,
And out of good still to find means of evil;
Which oft times may succeed, so as perhaps
Shall grieve him, if I fail not, and disturb
His inmost counsels from thir destind aim.
But see the angry Victor hath recall'd
His Ministers of vengeance and pursuit
Back to the Gates of Heav'n: The Sulphurous Hail
Shot after us in storm, oreblown hath laid
The fiery Surge, that from the Precipice
Of Heav'n receiv'd us falling, and the Thunder,
Wing'd with red Lightning and impetuous rage,
Perhaps hath spent his shafts, and ceases now
To bellow through the vast and boundless Deep.
Let us not slip th' occasion, whether scorn,
Or satiate fury yield it from our Foe.
Seest thou yon dreary Plain, forlorn and wilde,
The seat of desolation, voyd of light,
Save what the glimmering of these livid flames
Casts pale and dreadful? Thither let us tend
From off the tossing of these fiery waves,
There rest, if any rest can harbour there,
And reassembling our afflicted Powers,
Consult how we may henceforth most offend
Our Enemy, our own loss how repair,
How overcome this dire Calamity,
What reinforcement we may gain from Hope,
If not what resolution from despare.

Dolphin Fresco from the Queen's apartment at Knosos

chez moi

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my castle

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Il Est Cinq Heures, Paris SEveille - Jacques Dutronc

Childe Harold

"Apostrophe to the Ocean"

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The Bright Stone of Honor and the Tomb of Marceau from Byron's Childe Harold: 1835

"Apostrophe
to the Ocean"

Circle of Fraud

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region inhabited by a monster with the visage of a just man and reptile's body and stinging tail. Platonic tesselations of Riemann surfaces

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The beast, the monster, Geryon, swims up through the air,

passes mountains, breaks through walls and weapons

makes the whole world stink

(2-3).

Like the other guards we've encountered, Geryon represents what it is he precedes. Having been summoned by a symbol of simplicity and spiritualism, this beast of compound complexity and materialism has the face of an honest man

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benign and just in feature and expression

and under it his body was half reptile

(11-2).

Ciardi describes him as derived from a Spanish myth that, nonetheless, makes its way into a Grecian one through the connection of his having been killed by Hercules. Dante, Ciardi writes, probably relies upon a later tradition, which "represents him as killing and robbing strangers whom he lured into his realm," and may have drawn from Revelation 9: 9-20 in his depiction of him



che passa i monti e rompe i muri e l'armi! 2 past mountains, shatters walls and weapons!

Ecco colei che tutto 'l mondo appuzza!" 3 Behold the one whose stench afflicts the world!'

e accennolle che venisse a proda, 5 Then he signaled to the beast to come ashore

vicino al fin d'i passeggiati marmi. 6 close to the border of our stony pathway.

sen venne, e arrivò la testa e 'l busto, 8 beached its head and chest

ma 'n su la riva non trasse la coda. 9 but did not draw its tail up on the bank.

tanto benigna avea di fuor la pelle, 11 benevolent in countenance,

e d'un serpente tutto l'altro fusto; 12 but all the rest of it was serpent.

lo dosso e 'l petto e ambedue le coste 14 and back and chest and both its flanks

dipinti avea di nodi e di rotelle. 15 were painted and inscribed with rings and curlicues.

non fer mai drappi Tartari né Turchi, 17 in warp and woof or in embroidery on top,

né fuor tai tele per Aragne imposte. 18 nor were such colors patterned on Arachne's loom

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Cymbeline

Letras de músicas | Letras de músicas de Loreena McKennitt | Letra da música Cymbeline

gold dust