Scriptum pro Solitudo

 

eenzaam <bn.;~heid> 0.1 zonder gezelschap of ver van anderen verwijderd 0.2 verlaten

solitair¹ <de ~(m.);~en> 0.1 <biol.> 

 

eenzaam levend dier van een soort die in het algemeen kolonies vormt 

 

0.2 eenling  

0.3 afzonderlijk gezette diamant

Photo: Courtesy of Sotheby's

solitair² <bn.> 0.1 alleen levend 

©Copyright 1988, 1996 Van Dale Lexicografie bv Utrecht/Antwerpen

 

 

 

een·zaam (bijvoeglijk naamwoord, bijwoord; vergrotende trap: eenzamer, overtreffende trap: eenzaamst) 

1. zonder gezelschap; = alleen: zonder zijn familie voelde hij zich eenzaam 
2. stil: een eenzame weg; op eenzame hoogte staan zoveel beter zijn dan de anderen dat je geen concurrentie hebt

solitude (n.)

"state of being alone, remoteness from society," mid-14c., from Old French solitude "loneliness" (14c.) and directly from Latin solitudinem (nominative solitudo) "loneliness, a being alone; lonely place, desert, wilderness," from solus "alone" (see sole (adj.)). "Not in common use in English until the 17th c." [OED]

A man can be himself only so long as he is alone; ... if he does not love solitude, he will not love freedom; for it is only when he is alone that he is really free. [Schopenhauer, "The World as Will and Idea," 1818] 

solitude nom féminin 

xii^e siècle. Emprunté du latin solitudo, de même sens, lui-même dérivé de solus, « seul, unique »

1. État d’une personne qui, de façon choisie ou non, se trouve seule, sans compagnie, momentanément ou durablement. Se complaire dans la solitude. Souffrir de la solitude. L’anachorète choisit de se retirer dans la solitude. Vivre dans la plus profonde solitude. Par métonymie. Il peuplait sa solitude de mille rêveries.

▪ Par extension. Situation d’un individu qui se sent différent, à l’écart de ses semblables, éloigné de leurs préoccupations. La solitude du poète selon Baudelaire.

 

 

 

Miltzucht

Danse Macabre ~ Camille Saint-Saens

Decadentisme, ook wel décadence of decadentie genaamd, is een geestelijke stroming die in het laatste kwart van de negentiende eeuw vooral onder de ontwikkelden in West-Europa aanhang vond. Karakteristiek is de teleurstelling over de teloorgang van zekerheden, van verlies van duidelijkheid over de na te streven toekomst, maar ook van weerzin tegenover de blinde geldzucht van de burgerlijke maatschappij en het geloof dat de wetenschap en industrie alle problemen zullen oplossen. Kunst is een vrijplaats van die banale wereld. Uiterste schoonheid en zuiverheid moeten worden nagestreefd.
Een programma of duidelijke uitgangspunten had deze in hoge mate uit zich bewust isolerende individuen bestaande stroming niet. Zij kenmerkt zich door negativiteit, Weltschmerz, 'spleen', het woord dat Baudelaire hiervoor introduceerde, existentiële verveling (ennui), vermoeidheid, stuurloosheid, maar ook een provocatief zoeken naar schoonheid als enige uitweg uit de banale burgerlijkheid.

Danse macabre

A Ernest Christophe

Fière, autant qu'un vivant, de sa noble stature,
Avec son gros bouquet, son mouchoir et ses gants,
Elle a la nonchalance et la désinvolture
D'une coquette maigre aux airs extravagants.

Vit-on jamais au bal une taille plus mince?
Sa robe exagérée, en sa royale ampleur,
S'écroule abondamment sur un pied sec que pince
Un soulier pomponné, joli comme une fleur.

La ruche qui se joue au bord des clavicules,
Comme un ruisseau lascif qui se frotte au rocher,
Défend pudiquement des lazzi ridicules
Les funèbres appas qu'elle tient à cacher.

Ses yeux profonds sont faits de vide et de ténèbres,
Et son crâne, de fleurs artistement coiffé,
Oscille mollement sur ses frêles vertèbres.
Ô charme d'un néant follement attifé.

Aucuns t'appelleront une caricature,
Qui ne comprennent pas, amants ivres de chair,
L'élégance sans nom de l'humaine armature.
Tu réponds, grand squelette, à mon goût le plus cher!

Viens-tu troubler, avec ta puissante grimace,
La fête de la Vie ? ou quelque vieux désir,
Éperonnant encor ta vivante carcasse,
Te pousse-t-il, crédule, au sabbat du Plaisir?

Au chant des violons, aux flammes des bougies,
Espères-tu chasser ton cauchemar moqueur,
Et viens-tu demander au torrent des orgies
De rafraîchir l'enfer allumé dans ton coeur?

Inépuisable puits de sottise et de fautes!
De l'antique douleur éternel alambic!
A travers le treillis recourbé de tes côtes
Je vois, errant encor, l'insatiable aspic.

Pour dire vrai, je crains que ta coquetterie
Ne trouve pas un prix digne de ses efforts;
Qui, de ces coeurs mortels, entend la raillerie?
Les charmes de l'horreur n'enivrent que les forts!

Le gouffre de tes yeux, plein d'horribles pensées,
Exhale le vertige, et les danseurs prudents
Ne contempleront pas sans d'amères nausées
Le sourire éternel de tes trente-deux dents.

Pourtant, qui n'a serré dans ses bras un squelette,
Et qui ne s'est nourri des choses du tombeau?
Qu'importe le parfum, l'habit ou la toilette?
Qui fait le dégoûté montre qu'il se croit beau.

Bayadère sans nez, irrésistible gouge,
Dis donc à ces danseurs qui font les offusqués:
"Fiers mignons, malgré l'art des poudres et du rouge,
Vous sentez tous la mort ! Ô squelettes musqués,

Antinoüs flétris, dandys, à face glabre,
Cadavres vernissés, lovelaces chenus,
Le branle universel de la danse macabre
Vous entraîne en des lieux qui ne sont pas connus!

Des quais froids de la Seine aux bords brûlants du Gange,
Le troupeau mortel saute et se pâme, sans voir
Dans un trou du plafond la trompette de l'Ange
Sinistrement béante ainsi qu'un tromblon noir.

En tout climat, sous tout soleil, la Mort t'admire
En tes contorsions, risible Humanité,
Et souvent, comme toi, se parfumant de myrrhe,
Mêle son ironie à ton insanité!"


Charles Baudelaire
(1821-1867)

Tussen Hemel en Hel

De Tritonus

De Duivelskwart

diabolus in musica

De Duivel is in de details

De Tritonus is verduiveld moeilijk

Maar desondanks wel gebruikt en nooit verboden

Het vraagt echter vergevorderde Kennis om een muziekstuk te schrijven op basis van de Tritonus

The Middle Age a Glorieus Mistake

A dark Age

is better then Bright Lights
Liquid Cristal on Display
Cash and Carry
Dealer near you

a Flemisch Primitive
in it's Form:
the exploration of Dimensions
and Perspective

Hieronymus~Jeroen Bosch - Dulle Griet

KY-BA-LI-ON

THE LIPS OF WISDOM ARE CLOSED, 

EXCEPT TO THE EARS OF UNDERSTANDING.

Where fall the footsteps of the Master, the ears of those ready for his Teaching open wide.  When the ears of the student are ready to hear, then cometh the lips to fill them with Wisdom.

Under, and back of, the Universe of Time, Space and Change, is ever to be found The Substantial Reality--the Fundamental  Truth.

THAT which is the Fundamental Truth--the Substantial Reality--is beyond true naming, but the Wise Men call it THE ALL.

In its Essence, THE ALL is UNKNOWABLE.  But, the report of Reason must be hospitably received and treated with respect.  While All is in THE ALL, it is equally true that THE ALL is in ALL. To him who truly understands this truth hath come great knowledge.

The Infinite Mind of THE ALL is the womb of Universes.

THE ALL creates in its Infinite Mind countless Universes, which exist for aeons of Time--and yet, to THE ALL, the  creation, development, decline and death of a million Universes is as the time of the twinkling of an eye.

*

The Universe is Mental--held in the Mind of THE ALL.

As above, so below; as below, so above.

Nothing rests; everything moves; everything vibrates. 

Everything is Dual; everything has poles; everything has its pair of opposites; like and unlike are the same; opposites are  identical in nature, but different in degree; extremes meet; all truths are but half-truths; all paradoxes may be reconciled.

Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum-swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates.

Every Cause has its Effect; every Effect has its Cause; everything happens according to Law; Chance is but a name for Law not recognized; there are many planes of causation,  but nothing escapes the Law.

Gender is in everything; everything has its Masculine and Feminine Principles; Gender manifests on all planes. Within the Father-Mother Mind, mortal children are at home.  There is not one who is Fatherless, nor Motherless in the Universe. 

*

The possession of Knowledge, unless accompanied by a manifestation and expression in Action, is like the hoarding of precious metals-a vain and foolish thing.  Knowledge, like wealth, is intended for Use. The Law of Use is Universal, and he who violates it suffers by reason of his conflict with natural forces.

To change your mood or mental state--change your vibration.

To destroy an undesirable rate of mental vibration, put into operation the principle of Polarity and concentrate upon the opposite pole to that which you desire to suppress. Kill out the undesirable by changing its polarity. 

Mind (as well as metals and elements) may be transmuted, from state to state; degree to degree; condition to condition; pole to pole; vibration to vibration.

Rhythm may be neutralized by an application of the Art of Polarization.

Nothing escapes the Principle of Cause and Effect, but there are many Planes of Causation, and one may use the laws of the higher to overcome the laws of the lower.

The wise ones serve on the higher, but rule on the lower. They obey the laws coming from above them, But on their own plane, and those below them they rule and give orders.  And, yet, in so doing, they form a part of the Principle, instead of opposing it. The wise man falls in with the Law, and by understanding its movements he operates it instead of being its blind slave. Just as does the skilled swimmer turn this way and that way, going and coming as he will, instead of being as the log which is carried here and there--so is the wise man as compared to the ordinary man--and yet both swimmer and log; wise man and fool, are subject to Law. He who understands this is well on the road to Mastery

Mastery consists not in abnormal dreams, visions and fantastic imaginings or living, but in using the higher forces against the lower--escaping the pains of the lower planes by vibrating on the higher.  Transmutation, not presumptuous denial, is the weapon of the Master.

The half-wise, recognizing the comparative unreality of the Universe, imagine that they may defy its Laws--such are vain and presumptuous fools, and they are broken against the rocks and torn asunder by the elements by reason of their folly. The truly wise, knowing the nature of the Universe, use Law against laws; the higher against the lower; and by the Art of Alchemy transmute that which is undesirable into that which is worthy, and thus triumph.

True Hermetic Transmutation is a Mental Art.

THE ALL IS MIND; The Universe is Mental.

FINIS.

The Kybalion: Hermetic Philosophy,

A Study of The Hermetic Philosophy of Ancient Egypt and Greece,

by Three Initiates

published by The Yogi Publication Society, 

Masonic Temple, Chicago, Illinois, USA, 

1912

TO HERMES TRISMEGISTUS
KNOWN BY THE ANCIENT EGYPTIANS AS
"THE GREAT GREAT" AND "MASTER OF MASTERS"
THIS LITTLE VOLUME OF HERMETIC TEACHING IS REVERENTLY DEDICATED

Alien Age

1919=2=11

 alien (adj.) mid-14c., "strange, foreign," from Old French alien "alien, strange, foreign; an alien, stranger, foreigner," from Latin alienus "of or belonging to another, foreign, alien, strange," also, as a noun, "a stranger, foreigner," adjectival form of alius "(an)other" (see alias (adv.)).  

Meaning "not of the Earth" first recorded 1920. An alien priory (c. 1500) is one owing obedience to a mother abbey in a foreign country.






Aliéner
Étymol. ET HIST. − 1. 1265 dr. « faire passer la propriété de qqn à qqn d'autre » (Livre de Jostice, 47 ds DG : Aliener la chose de la commune); 2. 1355 « éloigner, rendre hostile » (Bersuire, f^o38 ds Gdf. Compl. : Laquelle chose eust le peuple aliené en cellui temps tres perilleux [Liv., II, 30, 3 : quae ... alienasset plebem]); 3. xiv^es. trans. « priver de raison » (Les Grandes chroniques de France, I, 86 ds Fr. mod., t. 4, 1936, p. 336 : Cil ... l'avoit aliéné de son sens); xvi^es. part. passé adj. (Amyot, Solon, 40 ds Littré : Il approuva seulement les donations qui ne seroient point procedées de sens aliené par quelque griefve maladie). Empr. au lat. alienare

2. [L'obj. est une pers. considérée dans ses rapports avec les choses ou avec autrui]
a) Aliéner qqn (ou les facultés morales de qqn) à soi (de soi).Rendre moralement étranger à, détacher, détourner de, susciter l'hostilité. Aliéner les affections, les cœurs, les esprits (Ac. 1798-1932); Aliéner la bienveillance, la sympathie de
b) PHILOS., SOCIOL., surtout chez Hegel, Marx. (Se) déposséder de certains droits naturels ou caractères humains, (se) rendre esclave des choses ou d'autrui. Aliéner sa liberté, son indépendance :

Alienage, all., s.m., action d'aliéner

ălĭēno , āvi, ātum, 1, v. a. id. (purely prosaic, but class.).
I. Orig., to make one person or thing another
II. Transf. to mental objects, and with esp. reference to that from which any person or thing is separated or removed, to cast off, to alienate, estrange, set at variance, render averse, make enemies


संन्यस् sannyas
1 To place or put down, deposit.
2 To lay down or aside, give up, abandon, quit;
3 To make or deliver over, entrust, commit to the care of;
4 To put together.
5 (Used in- transitively) To resign the world, discard all worldly ties and attachments and become an anchorite;

Meaning 'not of the earth' first recorded in 1920 in science fiction novels (ETH, H.G.Wells)

vreemd* [uitheems, zonderling] {vre(e)mt [uitheems, raar] 1237} oudsaksisch fremithi, oudhoogduits fremidi, oudengels fremde, gotisch framaþeis, afgeleid van oudnoors, gotisch fram [weg, eig.: naar voren], van voor²; vgl. vroom.

Afl. Bevreemden, ontvreemden, onvreemd, vervreemden.

Wunderwaffe

frame (v.) Old English framian "to profit, be helpful, avail, benefit," from fram (adj., adv.) "active, vigorous, bold," originally "going forward," from fram (prep.) "forward; from" (see from). Influenced by related Old English fremman "help forward, promote; do, perform, make, accomplish," and Old Norse fremja "to further, execute." Compare German frommen "avail, profit, benefit, be of use."

Sense focused in Middle English from "make ready" (mid-13c.) to "prepare timber for building" (late 14c.). Meaning "compose, devise" is first attested 1540s. The criminal slang sense of "blame an innocent person" (1920s) is probably from earlier sense of "plot in secret" (1900), perhaps ultimately from meaning "fabricate a story with evil intent," which is first attested 1510s. Related: Framed; framing.frame (n.) c. 1200, "profit, benefit, advancement;" mid-13c. "a structure composed according to a plan," from frame (v.) and in part from Scandinavian cognates (Old Norse frami "advancement"). In late 14c. it also meant "the rack."

rack

noun
Definition of RACK
1 a framework for holding fodder for livestock
2 an instrument of torture on which a body is stretched
3a (1) : a cause of anguish or pain (2) : acute suffering
b  the action of straining or wrenching
4a framework, stand, or grating on or in which articles are placed
5a : a bar with teeth on one face for gearing with a pinion or worm gear to transform rotary motion to linear motion or vice versa (as in an automobile steering mechanism)
b : a notched bar used as a ratchet to engage with a pawl, click, or detent
6 a pair of antlers
7 a triangular frame used to set up the balls in a pool game; also : the balls as set up


— on the rack
: under great emotional stress

Dante Alighieri

DANTE Canto I 

(als warmmaker enkele verzen vooraf )

 Midway upon the journey of our life I found myself within a forest dark, For the straightforward pathway had been lost. Ah me! how hard a thing it is to say What was this forest savage, rough, and stern, Which in the very thought renews the fear. So bitter is it, death is little more; But of the good to treat, which there I found, Speak will I of the other things I saw there. I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had abandoned the true way...

Verdere redenen voor het feit dat dichters liegen
 
Omdat het moment waarop het woord gelukkig wordt uitgesproken,  
nooit het gelukkige moment zelf is. 
Omdat de verdorstende zijn dorst niet over zijn lippen krijgt. 
Omdat de arbeidersklasse het woord arbeidersklasse niet in de mond neemt. 
Omdat wie wanhopig is, geen zin heeft te zeggen: 'Ik ben wanhopig.  
Omdat orgasme en orgasme niet met elkaar zijn te verenigen. 
Omdat de stervende, in plaats van te beweren : 'Ik sterf nu,' 
slechts een dof geluid produceert dat wij niet verstaan.  
Omdat de woorden te laat komen, of te vroeg.  
Omdat het dus iemand anders is,
altijd iemand anders, 
die daar spreekt, 
en omdat degene 
van wie dan sprake is,
zwijgt.

- H.M. Enzensberger, De Ondergang van de Titanic