Friday, February 26, 2021

THE CHIEF MATE - by James Russell Lowell


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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

 






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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