Friday, February 26, 2021

THE CHIEF MATE - by James Russell Lowell


https://upload.wikimedia.org/wikipedia/commons/7/7d/James_Russell_Lowell_-_1855.jpg

James Russell Lowell ( 1819 – 1891) was an American Romantic poet, critic, editor, and diplomat. He is associated with the Fireside Poets, a group of New England writers who were among the first American poets that rivaled the popularity of British poets. These writers usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. 



THE CHIEF MATE


My first glimpse of Europe was the shore of Spain. Since we got into the Mediterranean, we have been becalmed for some days within easy view of it. All along are fine mountains, brown all day, and with a bloom on them at sunset like that of a ripe plum. Here and there at their feet little white towns are sprinkled along the edge of the water, like the grains of rice dropped by the princess in the story. Sometimes we see larger buildings on the mountain slopes, probably convents. I sit and wonder whether the farther peaks may not be the Sierra Morena (the rusty saw) of Don Quixote. I resolve that they shall be, and am content. Surely latitude and longitude never showed me any particular respect, that I should be over scrupulous with them.

But after all, Nature, though she may be more beautiful, is nowhere so entertaining as in man, and the best thing I have seen and learned at sea is our Chief Mate. My first acquaintance with him was made over my knife, which he asked to look at, and, after a critical examination, handed back to me, saying, "I shouldn't wonder if that 'ere was a good piece o' stuff." Since then he has transferred a part of his regard for my knife to its owner. I like folks who like an honest bit of steel, and take no interest whatever in "your Raphaels, Correggios, and stuff." There is always more than the average human nature in the man who has a hearty sympathy with iron. It is a manly metal, with no sordid associations like gold and silver. My sailor fully came up to my expectation on further acquaintance. He might well be called an old salt who had been wrecked on Spitzbergen before I was born. He was not an American, but I should never have guessed it by his speech, which was the purest Cape Cod, and I reckon myself a good taster of dialects. Nor was he less Americanized in all his thoughts and feelings, a singular proof of the ease with which our omnivorous country assimilates foreign matter, provided it be Protestant, for he was a man ere he became an American citizen. He used to walk the deck with his hands in his pockets, in seeming abstraction, but nothing escaped his eyes. How he saw I could never make out, though I had a theory that it was with his elbows. After he had taken me (or my knife) into his confidence, he took care that I should see whatever he deemed of interest to a landsman. Without looking up, he would say, suddenly, "There's a whale blowin' clearn up to win'ard," or, "Them's porpises to leeward: that means change o' wind." He is as impervious to cold as a polar bear, and paces the deck during his watch much as one of those yellow hummocks goes slumping up and down his cage. On the Atlantic, if the wind blew a gale from the northeast, and it was cold as an English summer, he was sure to turn out in a calico shirt and trousers, his furzy brown chest half bare, and slippers, without stockings. But lest you might fancy this to have chanced by defect of wardrobe, he comes out in a monstrous pea-jacket here in the Mediterranean, when the evening is so hot that Adam would have been glad to leave off his fig-leaves. "It's a kind o' damp and unwholesome in these ere waters," he says, evidently regarding the Midland Sea as a vile standing pool, in comparison with the bluff ocean. At meals he is superb, not only for his strengths, but his weaknesses. He has somehow or other come to think me a wag, and if I ask him to pass the butter, detects an occult joke, and laughs as much as is proper for a mate. For you must know that our social hierarchy on shipboard is precise, and the second mate, were he present, would only laugh half as much as the first. Mr. X. always combs his hair, and works himself into a black frock coat (on Sundays he adds a waist coat) before he comes to meals, sacrificing himself nobly and painfully to the social proprieties. The second mate, on the other hand, who eats after us, enjoys the privilege of shirt-sleeves, and is, I think, the happier man of the two. We do not have seats above and below the salt, as in old time, but above and below the white sugar. Mr. X. always takes brown sugar, and it is delightful to see how he ignores the existence of certain delicates which he considers above his grade, tipping his head on one side with an air of abstraction so that he may seem not to deny himself, but to omit helping himself from inadvertence, or absence of mind. At such times he wrinkles his forehead in a peculiar manner, inscrutable at first as a cuneiform inscription, but as easily read after you once get the key. The sense of it is something like this: "I, X., know my place, a height of wisdom attained by few. Whatever you may think, I do not see that currant jelly, nor that preserved grape. Especially a kind Providence has made me blind to bowls of white sugar, and deaf to the pop of champagne corks. It is much that a merciful compensation gives me a sense of the dingier hue of Havana, and the muddier gurgle of beer. Are there potted meats? My physician has ordered me three pounds of minced salt-junk at every meal." There is such a thing, you know, as a ship's husband: X. is the ship's poor relation.

As I have said, he takes also a below-the-white-sugar interest in the jokes, laughing by precise point of compass, just as he would lay the ship's course, all yawing being out of the question with his scrupulous decorum at the helm. Once or twice I have got the better of him, and touched him off into a kind of compromised explosion, like that of damp fireworks, that splutter and simmer a little, and then go out with painful slowness and occasional relapses. But his fuse is always of the unwillingest, and you must blow your match, and touch him off again and again with the same joke. Or rather, you must magnetize him many times to get him en rapport with a jest. This once accomplished, you have him, and one bit of fun will last the whole voyage. He prefers those of one syllable, the a-b abs of humor. The gradual fattening of the steward, a benevolent mulatto with whiskers and earrings, who looks as if he had been meant for a woman, and had become a man by accident, as in some of those stories by the elder physiologists, is an abiding topic of humorous comment with Mr. X. "That 'ere stooard," he says, with a brown grin like what you might fancy on the face of a serious and aged seal, "'s agittin' as fat's a porpis. He was as thin's a shingle when he come aboord last v'yge. Them trousis'll bust yit. He don't darst take 'em off nights, for the whole ship's company couldn't git him into 'em agin." And then he turns aside to enjoy the intensity of his emotion by himself, and you hear at intervals low rumblings, an indigestion of laughter. He tells me of St. Elmo's fires, Marvell's corposants, though with him the original corpos santos has suffered a sea change, and turned to comepleasants, pledges of fine weather. I shall not soon find a pleasanter companion. It is so delightful to meet a man who knows just what you do not. Nay, I think the tired mind finds something in plump ignorance like what the body feels in cushiony moss. Talk of the sympathy of kindred pursuits! It is the sympathy of the upper and nether mill-stones, both forever grinding the same grist, and wearing each other smooth. One has not far to seek for book-nature, artist-nature, every variety of superinduced nature, in short, but genuine human-nature is hard to find. And how good it is! Wholesome as a potato, fit company for any dish. The free masonry of cultivated men is agreeable, but artificial, and I like better the natural grip with which manhood recognizes manhood.

X. has one good story, and with that I leave him, wishing him with all my heart that little inland farm at last which is his calenture as he paces the windy deck. One evening, when the clouds looked wild and whirling, I asked X. if it was coming on to blow. "No, I guess not," said he; "bumby the moon'll be up, and scoff away that 'ere loose stuff." His intonation set the phrase "scoff away" in quotation-marks as plain as print. So I put a query in each eye, and he went on. "Ther' was a Dutch cappen onct, an' his mate come to him in the cabin, where he sot takin' his schnapps, an' says, 'Cappen, it's agittin' thick, an' looks kin' o' squally, hedn't we's good's shorten sail?' 'Gimmy my alminick,' says the cappen. So he looks at it a spell, an' says he, 'The moon's due in less'n half an hour, an' she'll scoff away ev'ythin' clare agin.' So the mate he goes, an' bumby down he comes agin, an' says, 'Cappen, this 'ere's the allfiredest, powerfullest moon 't ever you did see. She's scoffed away the main-togallants'l, an' she's to work on the foretops'l now. Guess you'd better look in the alminick agin, and fin' out when this moon sets.' So the cappen thought 'twas 'bout time to go on deck. Dreadful slow them Dutch cappens be." And X. walked away, rumbling inwardly, like the rote of the sea heard afar.

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Wednesday, February 24, 2021

WITCH AND WITCHCRAFT - by Prabir Gayen

 



WITCH  AND  WITCHCRAFT

by  Prabir Gayen


Death will not make you end,
Death will not take away your grip,
You will enjoy every iota of power,
Everything will serve you better.


Don't feel to be hopeless,
Don't feel life to be short,
Make your mind strong,
Death snatches not the levy of life.


Have faith in the matter and spirit,
Spirit lives beyond mind and matters,
You will stay with full power and honour,
Grave will not make you finished.


Don't be ashamed of your End,
Time will not make you naught,
If soul becomes nonentity and blank,
Think to learn Necromancy,
To be a witch is better than liberation.








I OPENED A BOOK - by Julia Donaldson



I  OPENED  A  BOOK


by  Julia Donaldson


I opened a book and in I strode.
Now nobody can find me.
I’ve left my chair, my house, my road,
My town and my world behind me.
I’m wearing the cloak, I’ve slipped on the ring,
I’ve swallowed the magic potion.
I’ve fought with a dragon, dined with a king
And dived in a bottomless ocean.
I opened a book and made some friends.
I shared their tears and laughter
And followed their road with its bumps and bends
To the happily ever after.
I finished my book and out I came.
The cloak can no longer hide me.
My chair and my house are just the same,
But I have a book inside me.






Tuesday, February 23, 2021

American artist - COLLIN BOGLE





American artist Collin Bogle uses crayons, water-based pastels and airbrushes to paint realistic animal portraits. The 47-year-old spends anywhere from two weeks to two months painstakingly creating each piece of art. “I started painting realistic scenes in elementary school and am inspired by animals because of their uniqueness and beauty. I love to create these vivid, intimate experiences that cannot be reproduced in the wild, and I strive to show something lively and exciting. which the viewer usually does not see. I especially love wolves, bears and big cats; this is a good chance to see them up close without the threat of being eaten. " 
































































 

Thursday, February 18, 2021

LIVE LIFE - by Livelovelaugh

 


LIVE  LIFE

by  Livelovelaugh




Life is crazy

And totally unpredictable...

It's going to push you over,

Kick you while you're down,

And hit you when you try to get back up.

Not everything can beat you.

Things are going to change you,

But you get to choose which ones you let 

change you.

Listen to your heart,

Follow your dreams,

And let no one tell you what you're capable of.

Push the limits,

Bend the rules,

And enjoy every minute of it.

Laugh at everything.

Live for as long as you can.

Love all,

But trust none.

Believe in yourself,

And never lose faith in others.

Settle for nothing but only the best,

And give 110% in everything you do.

Take risks,

Live on the edge,

Yet stay safe,

And cherish every moment of it.

Life is a gift.

Appreciate all the rewards,

And jump on every opportunity.

Not everyone's going to love you,

But who needs them anyway?

Challenge everything,

And fight for what you believe.

Back down to nothing,

But give in to the little things in life,

After all, that is what makes you.

Forget the unnecessary,

But remember everything.

Bring it with you everywhere you go.

Learn something new,

And appreciate criticism.

Hate nothing,

But dislike what you want.

Never forget where you came from,

And always remember where you are going.

Live life to its fullest,

And have a reason for everything,

Even if it's totally insane.

Find your purpose in life,

And live it !






FALLING IN LOVE WITH YOU - by Danny Shaw



FALLING  IN  LOVE  WITH  YOU

by   Danny Shaw



Falling in love with you

Wasn’t part of my plan.

But I have no regrets,

I’m proud to call you my man.

You’re strong and tough,

Sometimes a little rough.

But your tenderness with me

Is more than enough.

So, to express my love

In a different way.

I have something special

To give to you today.






ROBERT SPENCER - American painter - Impressionist

 






https://upload.wikimedia.org/wikipedia/commons/a/ac/Robert_Carpenter_Spencer_self_portrait_1909.png

Robert Carpenter Spencer ( 1879 – 1931) was an American painter who received extensive recognition in his day. He was one of the Pennsylvania impressionists, but is better known for his paintings of the mills and working people of the Delaware River region than for landscapes. His work is held in numerous public collections. 

Spencer is known for his paintings of figures against a backdrop of factories and apartment houses, in an impressionist style with short, tight brushstrokes. The paintings he made in 1909–1910 of the Pennsylvania mills and the women mill workers are considered his best. He said, "A landscape without a building or a figure is a very lonely picture to me." Well known works include The Silk Mill (1912), Grey Mills (1913), The Closing Hour (1913) and Repairing the Bridge (1913). The Metropolitan Museum of Art bought Repairing the Bridge in 1914. His painting On the Canal, New Hope was acquired in 1916 by the Detroit Museum of Art. It depicts the back of run-down houses on the canal, with the lower portions whitewashed and bathed in light, with women doing housework.

A contemporary critic wrote, "Interpreted thro' the temperament of Robert Spencer a squalid motive which most of us would pass daily and regard as hopelessly commonplace is presented in a way to stir our emotions and without losing anything of its truth..." Pierre Bonnard said in 1926 "Mr. Spencer . . . is in the full vigor of his talent, which is great. His art does not resemble European art, a rare fact in America." According to the art collector Duncan Phillips he was"a rebel always against the standardized and stereotyped in art... [there was] no other painter, not John Sloan, or Edward Hopper, more pungently American in expression."

Spencer exhibited widely in the United States and abroad. Institutions that hold his work include the Art Institute of Chicago, the Metropolitan Museum of Art, the James A. Michener Art Museum, the Brooklyn Museum, the Smithsonian Institution, the Berkshire Museum, the Corcoran Gallery of Art, the Philadelphia Museum of Art, the National Academy of Design, The Reading Public Museum, the Detroit Institute of Fine Arts, the National Arts Club, the Delaware Art Museum, the Widener University Art Museum and The Phillips Collection in Washington D.C















































Monday, February 15, 2021

BELIEVE IN YOURSELF - by Edgar A. Guest

 



BELIEVE  IN  YOURSELF

by  Edgar A. Guest


Believe in yourself! Believe you were made
To do any task without calling for aid.
Believe, without growing too scornfully proud,
That you, as the greatest and least are endowed.
A mind to do thinking, two hands and two eyes
Are all the equipment God gives to the wise.


Believe in yourself! You are divinely designed
And perfectly made for the work of mankind.
This truth you must cling to through danger and pain;
The heights others have reached you can also attain.
Believe to the very last hour, for it is true,
That whatever you will, you've been gifted to do.


Believe in yourself and step out unafraid.
By misgivings and doubt be not easily swayed.
You've the right to succeed; the precision of skill
Which betokens the great you can earn if you will!
The wisdom of the ages is yours if you'll read.
But you've got to believe in yourself to succeed







THE CRIPPLE - by by Guy de Maupassant

 



The following adventure happened to me about 1882. I had just taken the train and settled down in a corner, hoping that I should be left alone, when the door suddenly opened again and I heard a voice say: “Take care, monsieur, we are just at a crossing; the step is very high.”

Another voice answered: “That's all right, Laurent, I have a firm hold on the handle.”

Then a head appeared, and two hands seized the leather straps hanging on either side of the door and slowly pulled up an enormous body, whose feet striking on the step, sounded like two canes. When the man had hoisted his torso into the compartment I noticed, at the loose edge of his trousers, the end of a wooden leg, which was soon followed by its mate. A head appeared behind this traveller and asked; “Are you all right, monsieur ?”

“Yes, my boy.”

“Then here are your packages and crutches.”

And a servant, who looked like an old soldier, climbed in, carrying in his arms a stack of bundles wrapped in black and yellow papers and carefully tied; he placed one after the other in the net over his master's head. Then he said: “There, monsieur, that is all. There are five of them, the candy, the doll the drum, the gun, and the pate de foies gras.”

“Very well, my boy.”

“Thank you, Laurent; good health !”

The man closed the door and walked away, and I looked at my neighbor. He was about thirty-five, although his hair was almost white; he wore the ribbon of the Legion of Honor; he had a heavy mustache and was quite stout, with the stoutness of a strong and active man who is kept motionless on account of some infirmity. He wiped his brow, sighed, and, looking me full in the face, he asked: “Does smoking annoy you, monsieur ?”

“No, monsieur.”

Surely I knew that eye, that voice, that face. But when and where had I seen them ? I had certainly met that man, spoken to him, shaken his hand. That was a long, long time ago. It was lost in the haze wherein the mind seems to feel around blindly for memories and pursues them like fleeing phantoms without being able to seize them. He, too, was observing me, staring me out of countenance, with the persistence of a man who remembers slightly but not completely. Our eyes, embarrassed by this persistent contact, turned away; then, after a few minutes, drawn together again by the obscure and tenacious will of working memory, they met once more, and I said: “Monsieur, instead of staring at each other for an hour or so, would it not be better to try to discover where we have known each other ?”

My neighbor answered graciously: “You are quite right, monsieur.”

I named myself: “I am Henri Bonclair, a magistrate.”

He hesitated for a few minutes; then, with the vague look and voice which accompany great mental tension, he said: “Oh, I remember perfectly. I met you twelve years ago, before the war, at the Poincels !”

“Yes, monsieur. Ah! Ah! You are Lieutenant Revaliere ?”

“Yes. I was Captain Revaliere even up to the time when I lost my feet  - both of them together from one cannon ball.”

Now that we knew each other's identity we looked at each other again. I remembered perfectly the handsome, slender youth who led the cotillons with such frenzied agility and gracefulness that he had been nicknamed “the fury.” Going back into the dim, distant past, I recalled a story which I had heard and forgotten, one of those stories to which one listens but forgets, and which leave but a faint impression upon the memory.

There was something about love in it. Little by little the shadows cleared up, and the face of a young girl appeared before my eyes. Then her name struck me with the force of an explosion: Mademoiselle de Mandel. I remembered everything now. It was indeed a love story, but quite commonplace. The young girl loved this young man, and when I had met them there was already talk of the approaching wedding. The youth seemed to be very much in love, very happy.

I raised my eye to the net, where all the packages which had been brought in by the servant were trembling from the motion of the train, and the voice of the servant came back to me, as if he had just finished speaking. He had said: “There, monsieur, that is all. There are five of them: the candy, the doll, the drum, the gun, and the pate de foies gras.”

Then, in a second, a whole romance unfolded itself in my head. It was like all those which I had already read, where the young lady married notwithstanding the catastrophe, whether physical or financial; therefore, this officer who had been maimed in the war had returned, after the campaign, to the young girl who had given him her promise, and she had kept her word.

I considered that very beautiful, but simple, just as one, considers simple all devotions and climaxes in books or in plays. It always seems, when one reads or listens to these stories of magnanimity, that one could sacrifice one's self with enthusiastic pleasure and overwhelming joy. But the following day, when an unfortunate friend comes to borrow some money, there is a strange revulsion of feeling.

But, suddenly, another supposition, less poetic and more realistic, replaced the first one. Perhaps he had married before the war, before this frightful accident, and she, in despair and resignation, had been forced to receive, care for, cheer, and support this husband, who had departed, a handsome man, and had returned without his feet, a frightful wreck, forced into immobility, powerless anger, and fatal obesity.

Was he happy or in torture ? I was seized with an irresistible desire to know his story, or, at least, the principal points, which would permit me to guess that which he could not or would not tell me. Still thinking the matter over, I began talking to him. We had exchanged a few commonplace words; and I raised my eyes to the net, and thought: “He must have three children: the bonbons are for his wife, the doll for his little girl, the drum and the gun for his sons, and this pate de foies gras for himself.”

Suddenly I asked him: “Are you a father, monsieur ?”

He answered: “No, monsieur.”

I suddenly felt confused, as if I had been guilty of some breach of etiquette, and I continued: “I beg your pardon. I had thought that you were when I heard your servant speaking about the toys. One listens and draws conclusions unconsciously.”

He smiled and then murmured: “No, I am not even married. I am still at the preliminary stage.”

I pretended suddenly to remember, and said:

“Oh! that's true! When I knew you, you were engaged to Mademoiselle de Mandel, I believe.”

“Yes, monsieur, your memory is excellent.”

I grew very bold and added: “I also seem to remember hearing that Mademoiselle de Mandel married Monsieur....Monsieur...”

He calmly mentioned the name: “Monsieur de Fleurel.”

“Yes, that's it ! I remember it was on that occasion that I heard of your wound.”

I looked him full in the face, and he blushed. His full face, which was already red from the oversupply of blood, turned crimson. He answered quickly, with a sudden ardor of a man who is pleading a cause which is lost in his mind and in his heart, but which he does not wish to admit.

“It is wrong, monsieur, to couple my name with that of Madame de Fleurel. When I returned from the war-without my feet, alas ! I never would have permitted her to become my wife. Was it possible ? When one marries, monsieur, it is not in order to parade one's generosity; it is in order to live every day, every hour, every minute, every second beside a man; and if this man is disfigured, as I am, it is a death sentence to marry him ! Oh, I understand, I admire all sacrifices and devotions when they have a limit, but I do not admit that a woman should give up her whole life, all joy, all her dreams, in order to satisfy the admiration of the gallery. When I hear, on the floor of my room, the tapping of my wooden legs and of my crutches, I grow angry enough to strangle my servant. Do you think that I would permit a woman to do what I myself am unable to tolerate? And, then, do you think that my stumps are pretty ?”

He was silent. What could I say ? He certainly was right. Could I blame her, hold her in contempt, even say that she was wrong ? No. However, the end which conformed to the rule, to the truth, did not satisfy my poetic appetite. These heroic deeds demand a beautiful sacrifice, which seemed to be lacking, and I felt a certain disappointment. I suddenly asked: “Has Madame de Fleurel any children ?”

“Yes, one girl and two boys. It is for them that I am bringing these toys. She and her husband are very kind to me.”

The train was going up the incline to Saint-Germain. It passed through the tunnels, entered the station, and stopped. I was about to offer my arm to the wounded officer, in order to help him descend, when two hands were stretched up to him through the open door.

“Hello ! my dear Revaliere !”

“Ah! Hello, Fleurel!”

Standing behind the man, the woman, still beautiful, was smiling and waving her hands to him. A little girl, standing beside her, was jumping for joy, and two young boys were eagerly watching the drum and the gun, which were passing from the car into their father's hands.

When the cripple was on the ground, all the children kissed him. Then they set off, the little girl holding in her hand the small varnished rung of a crutch, just as she might walk beside her big friend and hold his thumb.



coeur



MY LOVE NEVER CAN DO WITHOUT YOU... - by Ravi Sathasivam, Sri Lanka

 





MY LOVE NEVER CAN DO WITHOUT YOU...

by Ravi Sathasivam, Sri Lanka


Your love is the greatest things to me
I have seen it the day I met you
You are great most in everything
Allowed me to steal your heart forever
I have to thank God for bring you to me 
Otherwise my life would have gone so lifeless 
No matter the distance that keep us apart
but you are always will be secure in my heart  
Sometime my words don't come out to easily 
but my body language make you understand deeply
When you are in my arms like an angel
Cause, I feel all the world is belonging to me
I love you more than my poem can tell you
and wider than blue the sky hold you
Today you are in my heart and soul 
and my love never can do without you








MY LOVE FOR YOU - by Faton Ratkoceri, UK




MY LOVE FOR YOU


by Faton Ratkoceri, UK





My love for you 


Shine, shine like a star in a blurry sky 

Just don’t go on breaking this heart of mine 

Drinking the life’s poison to kill the pain 

baby your doings drive me insane 




it’s not the way you talk 

nor the way you walk 

it’s not even how you go about 

it’s not even when you loose a nut
 
all is well when you are in vicinity 

feeling your presence is an order for my heart and

 soul 

‘cus baby I love you every day more and more…