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Re: August meteor showers

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  • write3chairs
    ... Deborah, thank you! I came across a quotation this morning that I wanted to share here, too. It s from Federico García Lorca s POEMA DEL CANTE JONDO
    Message 1 of 7 , Aug 4, 2007
      --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" wrote:

      > I'm trying to get into a Michaelmas mood, and I think it
      > will take a bit of work, so I'm starting early.
      >
      > I'm going to be quoting some poems (over the next few weeks) and
      > other stuff from "The Archangel Michael: His Mission and Ours:
      > Selected Lectures and Writings by Rudolf Steiner" Anthroposophic
      > Press, 1994.

      Deborah, thank you! I came across a quotation this morning that I
      wanted to share here, too. It's from Federico García Lorca's POEMA DEL
      CANTE JONDO (1931, Deep Song).

      "The muse of Góngora and the angel of Garcilaso must let go of their
      laurel garlands when the duende of St. John the Cross comes by."
    • doybia
      Could you provide a bit more background for this quote? My curiosity is piqued! DeborahK ... DEL ... their
      Message 2 of 7 , Aug 5, 2007
        Could you provide a bit more background for this quote? My curiosity
        is piqued!
        DeborahK

        --- In anthroposophy_tomorrow@yahoogroups.com, "write3chairs"
        <write3chairs@...> wrote:
        >
        > --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" wrote:
        >
        > > I'm trying to get into a Michaelmas mood, and I think it
        > > will take a bit of work, so I'm starting early.
        > >
        > > I'm going to be quoting some poems (over the next few weeks) and
        > > other stuff from "The Archangel Michael: His Mission and Ours:
        > > Selected Lectures and Writings by Rudolf Steiner" Anthroposophic
        > > Press, 1994.
        >
        > Deborah, thank you! I came across a quotation this morning that I
        > wanted to share here, too. It's from Federico García Lorca's POEMA
        DEL
        > CANTE JONDO (1931, Deep Song).
        >
        > "The muse of Góngora and the angel of Garcilaso must let go of
        their
        > laurel garlands when the duende of St. John the Cross comes by."
        >
      • write3chairs
        ... Absolutely! Deborah, I am glad you asked. It is from a book I have mentioned here before, The Demon and the Angel, by Edward Hirsch. I found it in a
        Message 3 of 7 , Aug 6, 2007
          --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" wrote:

          > Could you provide a bit more background
          > for this quote? My curiosity is piqued!

          Absolutely! Deborah, I am glad you asked. It is from a book I have
          mentioned here before, "The Demon and the Angel," by Edward Hirsch. I
          found it in a chapter titled "Night Work." Here is the entire opening
          paragraph of that chapter:

          There is consolation in the idea that the dark night of the soul is the
          duende's special province. Lorca declares, "The muse of Góngora and the
          angel of Garcilaso must let go of their laurel garlands when the duende
          of St. John the Cross comes by" (Deep Song). Saint John's subject was
          spiritual negation and mystical union, the self alarmed and abandoned
          utterly, so desolate, so desperate in its crying out, so abject in its
          need for a savior that it signals a transfiguration. We are moving into
          the realm of the self lost and found and lost again, the realm of the
          sacred. The dark night is a holy hour when the spirit comes to Saint
          John as an erotic visitation, a saving grace, a sovereign hand that
          wounds. He is "inflamed by love's desire." He is filled and emptied
          out. Here are the conclusive three stanzas of "Dark Night," in Frank
          Bidart's spirited rendition:

          As he lay sleeping on my sleepless
          breast, kept from the beginning for him
          alone, lying on the gift I gave
          as the restless
          fragrant cedars moved the restless winds,--

          winds from the circling parapet circling
          us as I lay there touching and lifting his hair,--
          with his sovereign hand, he
          wounded my neck--
          and my senses, when they touched that, touched nothing...

          In a dark night (there where I
          lost myself,--) as I leaned to rest
          in his smooth white breast, everything
          ceased
          and left me, forgotten in the grave of forgotten lilies.
          ---

          Jennifer

          > DeborahK
        • doybia
          I realized that I was still a bit puzzled and spotted the problem: a new vocabulary word: duende Here is what I found when I went searching: quote: Duende like
          Message 4 of 7 , Aug 7, 2007
            I realized that I was still a bit puzzled and spotted the problem: a
            new vocabulary word: duende

            Here is what I found when I went searching:

            quote:
            Duende like art itself has faces that are both appealing and
            dangerous. It can be dark and hard to pin down.
            Coming from southern Spain, "Duende" has only recently migrated to
            English. Dictionaries give meanings sometimes at odds with each
            other.

            The New Oxford English Dictionary gives:

            1. A ghost, an evil spirit; 2. Inspiration, magic, fire.

            The Random House Dictionary gives:

            1. A goblin, demon, spirit; 2. Charm, magnetism.

            The Larousse Spanish-English Dictionary translates duende as Goblin,
            elf, imp/Magic. It gives the usages: los duendes del Flamenco, the
            Magic of Flamenco; tener duende, to have a certain magic.

            We take our cue from the great Spanish poet, Federico Garcia Lorca.
            He gave a famous lecture on La Teoria y Juego del Duende – The
            Theory and Function of Duende. Lorca says:

            "All through Andalusia . . . people speak constantly of duende, and
            recognize it with unfailing instinct when it appears. The wonderful
            flamenco singer El Lebrijano said: `When I sing with duende, no one
            can equal me.' . . . Manuel Torres, a man with more culture in his
            veins than anybody I have known, when listening to Falla play his
            own `Nocturno del Genaralife,' made his splendid pronouncement: `All
            that has dark sounds has duende.' And there is no greater truth.

            "These dark sounds are the mystery, the roots thrusting into the
            fertile loam known to all of us, ignored by all of us, but from
            which we get what is real in art. . . .

            "Thus duende is a power and not a behavior, it is a struggle and not
            a concept. I have heard an old master guitarist say: `Duende is not
            in the throat; duende surges up from the soles of the feet.' Which
            means it is not a matter of ability, but of real live form; of
            blood; of ancient culture; of creative action."


            So we have taken the name DUENDE in order to honor Lorca's dark
            creative force. Duende is there to challenge us to keep our ears
            open to the `dark sounds,' to keep our touch with the earth and with
            the ghosts of those who have come before, to never refuse the
            struggle which is needed to keep the spirits working on the side of
            truth.



            --- In anthroposophy_tomorrow@yahoogroups.com, "write3chairs"
            <write3chairs@...> wrote:
            >
            > --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" wrote:
            >
            > > Could you provide a bit more background
            > > for this quote? My curiosity is piqued!
            >
            > Absolutely! Deborah, I am glad you asked. It is from a book I have
            > mentioned here before, "The Demon and the Angel," by Edward
            Hirsch. I
            > found it in a chapter titled "Night Work." Here is the entire
            opening
            > paragraph of that chapter:
            >
            > There is consolation in the idea that the dark night of the soul
            is the
            > duende's special province. Lorca declares, "The muse of Góngora
            and the
            > angel of Garcilaso must let go of their laurel garlands when the
            duende
            > of St. John the Cross comes by" (Deep Song). Saint John's subject
            was
            > spiritual negation and mystical union, the self alarmed and
            abandoned
            > utterly, so desolate, so desperate in its crying out, so abject in
            its
            > need for a savior that it signals a transfiguration. We are moving
            into
            > the realm of the self lost and found and lost again, the realm of
            the
            > sacred. The dark night is a holy hour when the spirit comes to
            Saint
            > John as an erotic visitation, a saving grace, a sovereign hand
            that
            > wounds. He is "inflamed by love's desire." He is filled and
            emptied
            > out. Here are the conclusive three stanzas of "Dark Night," in
            Frank
            > Bidart's spirited rendition:
            >
            > As he lay sleeping on my sleepless
            > breast, kept from the beginning for him
            > alone, lying on the gift I gave
            > as the restless
            > fragrant cedars moved the restless winds,--
            >
            > winds from the circling parapet circling
            > us as I lay there touching and lifting his hair,--
            > with his sovereign hand, he
            > wounded my neck--
            > and my senses, when they touched that, touched nothing...
            >
            > In a dark night (there where I
            > lost myself,--) as I leaned to rest
            > in his smooth white breast, everything
            > ceased
            > and left me, forgotten in the grave of forgotten lilies.
            > ---
            >
            > Jennifer
            >
            > > DeborahK
            >
          • doybia
            continuing: Indra, when you killed the first-born of Dragons, and overcame by your magic the magic of the magicians, at that very moment, you brought forth the
            Message 5 of 7 , Aug 18, 2007
              continuing:

              Indra, when you killed the first-born of Dragons, and overcame by
              your magic the magic of the magicians, at that very moment, you
              brought forth the sun, the sky, and dawn. Since then, you have found
              no enemy to conquer you.

              With his great weapon, the thunderbolt, Indra killed the
              shoulderless Vrtra, his greatest enemy. Like the trunk of a tree,
              whose brances have been lopped off by an axe,the Dragon lies flat
              upon the ground.

              For muddled by drunkenness like one who is no soldier, Vrtra
              challenged the great hero who had overcome the mighty and who drank
              the Soma to the dregs. Unable to withstand the onslaught of his
              weapons, he found Indra an enemy to conquer him and was shattered,
              his nose crushed.

              Without feet or hands, he fought against Indra, who struck him on
              the nape of the neck with his thunderbolt. The steer, who wished to
              become the equal of the bull bursting with seed, Vrtra lay broken in
              many places.

              Over him, as he lay there like a broken reed, the swelling waters
              flowed for human beings. Those waters that Vrtra had enclosed within
              his power--the dragon now lay at their feet...

              In the midst of the channels of the waters, which never stood still
              or rested, the body was hidden. The waters flow over Vrtra's secret
              place: he who found Indra an enemy to conquer him sank into long
              darkness.
              [Rig Veda 1,32. Adapted from the translation by Wendy O'Flaherty
              (Penguin Books, 1981.)]

              --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" <doybia@...>
              wrote:
              >
              > I'm trying to get into a Michaelmas mood, and I think it will take
              a
              > bit of work, so I'm starting early.
              >
              > I'm going to be quoting some poems (over the next few weeks) and
              > other stuff from "The Archangel Michael: His Mission and Ours:
              > Selected Lectures and Writings by Rudolf Steiner" Anthroposophic
              > Press, 1994.
              >
              > From the Rig Veda:
              >
              > Let me now sing the heroic deeds of Indra, the first that the
              > thunderbolt-wielder performed. He killed the Dragon and pierced an
              > opening for the waters; he split open the bellies of mountains.
              >
              > He killed the Dragon who lay upon the mountain; Tvastr fashioned
              the
              > roaring thunderbolt for him. Like lowing cows, the flowing waters
              > rushed straight down to the sea.
              >
              > Wildly excited like a bull, he took the Soma for himself and drank
              > the extract from the three bowls in the three-day Soma ceremony.
              > Indra, the generous, seized his thunderbolt to hurl it as a
              weapon:
              > he killed the first-born of Dragons.
              > --- In anthroposophy_tomorrow@yahoogroups.com, "doybia" <doybia@>
              > wrote:
              > >
              > > http://wn.rsarchive.org/Lectures/Michaelmas/19231015p01.html
              > >
              > > And now we see how against this Ahrimanic desire-element,
              against
              > > this animal desire-nature of man turned inside out, as it were,
              in
              > > the cosmos, an opposing force is present. The force which brings
              > the
              > > human being into subjection through his emotions, dragging him
              > down
              > > below the human to the animal level, and is revealed in full
              > summer
              > > high above us — against this a counter-force is provided in the
              > > cosmos. This counter-force is seen in those remarkable products
              > > which from time to time fall on to the Earth as products of the
              > > cosmos and contain meteoric iron. If you look at a piece of
              > meteoric
              > > iron, you have in it a remarkable witness of the iron dispersed
              in
              > > the cosmos. In the shooting stars which come so frequently in
              > August
              > > and bring iron into special activity, as it were, in the cosmos,
              > we
              > > see revealed this counter-force of Nature acting against the
              > desire-
              > > element which by that time is out there in the cosmos. And in
              this
              > > cosmic iron, condensed to meteoric stones, we have the arrows
              > which
              > > the cosmos sends out against the animal desire element which, as
              I
              > > have just described, is cosmically manifest.
              > >
              > > From "The Festivals and Their Meaning: Michaelmas IV" by Rudolf
              > > Steiner
              > >
              > > Thank you to the Rudolf Steiner Archive
              > >
              > > I love this lecture!
              > >
              > > DeborahK
              > >
              >
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