It’d be a short post (because my lovely granddaughter Mila will come soon?) I have watched this movie yesterday, though I have recorded some weeks ago and it was so wonderful that I wanted to share it with you, might be interested to see it.
I was fascinated by this movie, not only because of the amazing atmosphere at the end of the 19th century’s but also to see these crazy and unpredictable genius whom I saw them all in my life in my family!
Let’s meet the genius again in a very sensitive version 😊have a wonderful weekend 🙏💖
What we as human search and find but sometimes, through our ego get some certainties, puzzles me always. We must know that we don’t know first, then when we think twice, we might guess the answers and look through it again and again to find the right one!
Here I just want to present a pure beauty of the creation on this earth; we must be stunned now and then how far can the elegance go. This created art is fascinating, a beauty itself;
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection Acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 – photo MRAH
This sculpted portrait of Queen Tiyi, great royal wife of Amenhotep III, mother of Akhenaton, seduces us with its beauty and gentleness. The sculptor who made it seems to have barely scratched the white limestone with his finest chisel, to turn it into a work of art imbued with femininity and perfection.
The queen is shown in profile – the left – and wears a ceremonial headdress. Her tripartite, smooth wig is surrounded by a diadem adorned on the forehead with two uraei which stand out in relief: one wears the red crown (decheret) of Lower Egypt, while the other wears the white crown. (hedjet) from Upper Egypt. The back of the tiara is embellished with an intricately carved falcon which spreads its long protective wings. Between his talons, he holds the shen sign, symbol of eternity.
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 – photo MRAH
The wig is surmounted by a mortar encircled by seven-disc uraei, the first three have suffered: their upper part is missing. This modius is surmounted by two tall ostrich feathers of which only the base remains.
The queen’s face is perfect: her almond-shaped eye surmounted by a beautifully arched eyebrow, her nose of ideal proportions, her delicate ear, near which – a charming detail – appears a short lock of hair and her mouth whose lips full seem to sketch a slight smile.
Her shoulders and her breast are soft and round. Of the flagellum – fly swatter – which she held in one hand, only the upper part is now visible. Its long curved stem opens onto a lotus.
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 – photo MRAH
This portrait aroused as much wonder as admiration, sparking just as many interesting analyzes and studies!
“It is executed in a more traditional style than many of the images we know of it. It represents one of the peaks of the art of official portraiture. In a play of flexible and elegant lines, the artist idealized the facial features, the upper lip a little heavy, the fold of the mouth with sagging corners (Woman in the time of the pharaohs – Six works of art from the Egyptian collection of the Royal Museums of Art and History).
“The style is of rare elegance, particularly as regards the face. It will be observed that making use of a relief barely three millimetres thick, the sculptor manages to render both the gaze (shadow amassed towards the front of the eye), the palpitation of the nostrils and the sensuality of the mouth “. (Pierre Gilbert, in “Ancient Mediterranean”).
“The smooth whiteness of the bare limestone softens subtle indications of the queen’s age, such as the very slight puffiness on the cheeks. Her hair is smooth; the artist may have intended to paint the details” (Arielle Kozloff in “Amenophis III, the sun pharaoh”).
“Tiyi’s recognizable features are also reminiscent of those of her husband. It was the custom, in Egyptian art, to attribute to gods and humans something of the physiognomy of the reigning king, which was the best pledge of union between the ones and the others. But here, the resemblance has undoubtedly more significance. The understanding often marked by Amenophis III between him and Tiy is reflected in the face of this one, where the resemblance becomes a sign of reciprocal amorous happiness (The Reign of the Sun Akhnaton and Nefertiti).
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 Relief photographed “in situ”, in TT 47, published by Howard Carter in the “Annals of the Antiquities Service of Egypt, Volume IV, 1902-1903”
This magnificent relief comes from the Theban tomb of Userhat, guardian of the royal harem of the temple of Amenhotep III, located in the necropolis of el-Khokha. In the “Annals of the Antiquities Service of Egypt, Volume IV, 1902-1903″, Howard Carter – who was then inspector of the Theban necropolis – reports that he went there to see this tomb that ” the Omdeh of Qournah “indicated to him. If it has already been looted, he nevertheless notes that: “The reliefs are of remarkable work and as for Tiy, I do not remember having seen a better portrait of it!”
In his report, he also publishes the full relief, representing the queen, who was sitting behind her husband during a ceremony.
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 Photo published in “Jean Capart et la reine Tiyi,” la Joconde du Cinquantenaire “ by Jean-Michel Bruffaerts
How to explain the fact that this portrait of the TT 47, was then cut out, to have only an almost square shape (height 41.9 cm – width 40.3 cm)? Then outraged, overloaded with inscriptions carried in black on the cheek, neck, torso and a shoulder, and deprived of some hieroglyphic signs, erased, levelled with the mortar? How to explain that this relief is then found at Drouot in Paris, on April 10-12, 1905, in the catalogue of the sale of Paul Philip, a collector who had excavated the site of Heliopolis?
It is thus “curiously” presented under the n ° 91: “Fragment of a bas-relief of the Ptolemaic period in limestone and representing one of the Ptolemies. The king is wearing the headband held rigid at the back by the goddess of victory in the form of a bird of prey and at the front by the two uraei. Above this first headdress is placed the shouti crown (crown of the double feather) truncated, and adorned at the base uraei. A cloth also encloses all the hair. The hand holds the heraldic lotus. A demotic, almost indecipherable inscription has been traced with kalam on the face, neck, chest and arm “.
It will be acquired for a modest sum (180 F) by Jean Capart, deputy curator of the Royal Museums of Decorative and Industrial Arts of Brussels, who is then responsible for building a rich and representative collection of Egyptian antiquities.
How can we believe that Jean Capart did not immediately recognize a typical piece of the art of Amenhotep III? And that, according to Jean-Michel Bruffaerts: “It is the French Egyptologist Georges Daressy, assistant curator at the Cairo Museum, who was the first to suggest that this relief could date, not from the Ptolemaic period as claimed by the Catalog Philip, but well of the XVIIIe dynasty (New Kingdom) “?
Thus, two years will pass before Jean Capart realizes the true “origin” of his acquisition: it was indeed part of the relief photographed by Carter in the TT 47!
Queen Tiyi – Limestone – New Kingdom – XVIIIth Dynasty – Reign of Amenhotep III From the tomb of Userhat (TT 47) – Necropolis of el-Khokha – Thebes west Sold at the Hôtel Drouot in Paris, April 10-12, 1905, lot n ° 91 from the Paul Philip collection acquired by Jean Capart for the Royal Museums of Decorative and Industrial Arts of Brussels Royal Museums of Art and History, Brussels – E 2157 Photo published in “Jean Capart et la reine Tiyi,” la Joconde du Cinquantenaire “ by Jean-Michel Bruffaerts
Looking at it from then on with a new eye, with increased attention, he will decide to clean it, to remove the ‘filthy’ black inscriptions which deteriorated its purity …
The relief will be restored with care, the queen will regain her lost “status” for some time and will become the “star” of the Egyptian collection of the Brussels museum.
Why not end with the words of Jean Capart: “The fragment of relief of Queen Tiyi cannot fail to strike our visitors. It will show them, several centuries before the first gropings of Greek art, an ideal of beauty and learned processes to translate it, which all those who claim to judge in an impartial manner the artistic evolution of humanity no longer have the right to ignore any more “.
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)
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.
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!
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.
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
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.
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
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!!
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.
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
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
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
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.
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.
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
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
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.
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.”
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. “
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!
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.
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.
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.
Actually, I’ve come to know Allan Poe through Alan Parsons, the great musician and composer who made many great albums, including the vinyl album “Tales of Mystery and Imagination.”
As I might have noticed before, I have not much to do with poetry, but when I had the vinyl and listened 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 dramatises the narrator’s confusion as he watches the important things in life slip away. Realising 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, which is regarded as a blueprint for “A Dream Within a Dream” and preceding its publication by two decades.
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 It 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 explore the hidden side of the soul, but it is not easy; we all have edges to our unknowns, hidden behind our childhood experiences. It’s called complexes, Sigmund Freud meant at least. But they are all present, and we can’t get rid of them; we 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 Parsons and his Alan Parsons Projects. I have learned a lot. 🙏💖
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.
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.
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.
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!
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
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. 🤗💖
“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
lampmagician 
You must be logged in to post a comment.