Painting by Antoni Tapies

Painting by Antoni Tapies

Friday, May 6, 2011

150th Birth Anniversary of Tagore






Agence France-Presse/Getty Images.
Rabindranath Tagore, left, with the Countess Anna de Noailles.





Tagore’s 150th Birth Anniversary


Over the weekend India and Bangladesh will celebrate the 150th Birth anniversary of poet and Nobel laureate Rabindranath Tagore,
who was born May 7, 1861.

The writer and painter who gave both India and Bangladesh their national anthems—“Jana Gana Mana” and “Amar Shonar Bangla”—and who traveled widely, making friends from Europe to Argentina, is still seen as towering cultural icon today. He was the first person who was not from the West to win the prestigious Nobel Prize for Literature for his prolific body of work. According to Judith Plotz, a George Washington University professor who moderated an event in the Nobel laureate’s honor at the Asia Society in March, Tagore wrote 12 novels, 3,000 poems and and over 2,000 songs.

He was also a huge source of inspiration for another icon from Bengal—film-maker Satyajit Ray.
The celebrations this weekend cap a year of commemoration that kicked off last May. Many of the events are aimed at bringing the poet closer to younger people, many of whom are not very familiar with his works.

More on:  http://blogs.wsj.com/indiarealtime/2011/05/06/stamps-paintings-films-mark-tagores-150th-birth-anniversary/





Sonnets to Europa


















 
 
SONNETS TO EUROPA
by Vlanes (Vladislav Nekliaev)
 
Frost apple on a knotted whirling bough
of dark becoming where it cannot be.
So much both for the soil and for the tree,
so much for things that are becoming now.

You’re melting, slowly dripping from the prow
of a proud sphere pointing right at me,
so leaves caught in the cobweb, endlessly
rotate and shift, remaining still somehow.

As a faint sketch upon the open door
keeps this door shut, you keep the space behind
brought to the forefront of the searching mind.

As notches on the door-post wait for more
when children grow up, you send a kind
of fruitful anguish where you never go.



Imaginary landscapes, reddish leaves,
the scent of autumn lakes, the tumbleweeds
that bounce off the pimpled skin of June,
the hill devoid of height that shrinks and heaves,

blue hailstones blooming on the convex eaves
of icy homes with thick distorted frames
whose inner sphere neither lures, nor blames
and shows things one secretly believes.

As does the rain that marches through the fields
unmeasured by its ever changing span,
my body grows aimlessly and shields

itself from its illusions which began
to glimmer like the sun that now gilds
the tops of firs with its gold-soaked fan.



Your name, I cannot speak of it too much,
for I don’t want you to be locked in it,
your landscapes stretch beyond its rare frame,
but who can blame the things for being such?

Upon the slit of space you are a patch
of frozen cloth and thin transforming threads,
too small to mend it and too short of sense,
which makes you but impossible to match.

First words pronounced by the stiffened jaws,
first birds conceived under the lizard’s skin,
first shoots of anguish ripening within

the joyful blindness, forcing it to close
over its empty core that starts to spin
and splash existence like a broken hose.



My heart inside my body floats like
a piece of wood, all covered with the lips
of shells and marks left by the tiny crabs
scratching the names of the disaster with

their random claws. The calmness of the sea,
its sinister serenity is too
colossal to be noticed. In the depth
the tips of sunken masts still point at me.

My memory is a backyard overgrown
with long and leaning stems of dying grass
that rustle in the wind and make their own

the shadows of the clouds which amass
above the greenish gown gently blown
aside by any gust that comes to pass.



But something makes me similar to you,
I’m clothed too with icy crust that changes
and breaks apart, the crust of murdered days,
not taken chances which remain in me

and die again when I remember them.
My heart is not of iron as is yours,
but it’s as good as iron, too remote,
too heavy to be carried on and on.

The ocean of my blood is very hot
but doesn’t melt the ice. I go round
the giant world where creatures don’t abound,

and I appear as a tiny dot
to the reflector standing on the ground
of a stray planet which I know not.



You have been left to melt inside a room
with images engraved upon the walls,
as Rilke said: sunset, sunset... But you
were caught between sunset and slow rays

of unfulfilment. He who knows the sequence,
he wouldn’t notice your absence, since the row
would seem complete. But death without you
seems perfect, for you are the only string

that can be tuned, whereas others fail.
The instrument that was designed to play
some deadly songs under the fingers pale

and breaking all apart, is now taught
to resonate to your unspoken tale
and push its finger-board through the ice.



I still remember when I was a child,
I was sitting once in a huge room
and eating something greedily. My shirt
was covered with some soup or chocolate,

I can’t recall exactly. My mother’s hands
were there, so warm and so inevitable,
as if it was my duty to grow up
a happy person loved by everybody.

I was looking through the window, to the Volga,
I saw the endless luxury of space,
the small and round sun, the bushes on the shore,

the white horse that was fumbling in the sand
as if she found grass or hay, or something
she could eat. How long ago it was,



so long ago that I begin to doubt
if that in fact was me and not some kind
of a self-started memory, the fruit
of hopes unhoped which left this only trace

behind. Well, I was looking at the horse
and she was looking straight at me, or it seemed so.
Her outlines were dim, it was so close to evening,
she moved with an unfettered grace, uneasy

and blissful at the same time, so calm
and beautiful that I began to smile
and could not eat. I jumped up, stretched my palm

out and, look, she was on it, now wandering away
and getting smaller, smaller. No harm
is greater than to think it was a dream.



I ask myself if you keep memories,
rotating like a crazy clown under
the eye of Jupiter. And if he let you go,
where would you go? What direction

would your instinct choose? Like a hungry horse,
would you find your way home, to the stables
to hide from darkness with your own kind,
or would you roam into the woods of chance

and pick your own goal? How could you tell
the difference between your freedom and the past
of bound slavery? Like a bucket in the well,

you would be moving up and down on the mast
of a cracked sweep, returning to your cell,
pushed by the hands of wind’s relentless blast.



When the night plays its harpsichord, the trees
move around on the legs of their roots,
with the sparrows hidden in their leafy branches,
tenaciously holding them with their claws,

when our visions chase each other, butterflies
made of day’s pollen and a daylong dream,
you look at us, I tend to think, as if
we were some marvel, through our gloomy skies.

Perhaps each movement here corresponds
to your own movement and we can’t foresee
the impact of the future memory

upon your settling hills and icy ponds
that dream of the eruption of the sea
under the crust that suffocates and bonds.



I know what can happen here: the door,
the handle, the torn blind, the space between,
my hand is like a gaudy weathercock
that points at something it can touch no more

than a cracked tea-pot lying on the floor
can sip from the Pacific. I become
a vain continuation of the things,
deleting their urge to rise and go.

Without me they would have come to you,
without me you would have merged in one,
my mind is holding like a sticky glue

the things that would have risen and begun
to wriggle into heaven as I do,
but what I fail to do, they would have done.



I’m waiting for the night to see your face,
its modest promises, its saddened look,
I prick the night with a firm telescope
that spills my vision all over the lace

that covers you. I tried but I can’t race
like a cicada in the midst of night
or like a gleeful glow-worm burning bright
that keeps all its desires in one place.

My universe is what I see in it,
my past is what I choose it to become,
my mind droops from the night like a ripe plum

whose halves resemble pincers that have split
the stone inside. My angel has a drum
but he’s too shy to lift it or to hit.



But if he does - then everything will be
so different, so fresh, but I don’t know
if this will happen. Every wing is slow
when it must race against uncertainty.

Europa - I have said your name. You see
that nothing happened. I have loved you so
that I forbade the winds to swell and blow,
I stopped all sails from spreading over me.

I stayed like a street pigeon in the arch,
I was myself the echo and the wing,
I watched the seasons’ non-persistent march,

the planets jerking on the rusted spring
held by the sun, but I have failed to match
your wave and its redundant murmuring.
 
 
Source: Image and Text:  Online

Broken Clavecin


























BROKEN CLAVECIN
by Vlanes (Vladislav Nekliaev)
for every windי’s emotionless blast
brings shreds of feathers with their dance of loss
rotating leaves of faded rainbow-trees
and bitter tide of petals outcast
the eye undates the images it sees:
the clouds overgrown with melted moss
the shadows cleft and soaking in the sun
the palms of longing fastened to the mast:
this changing chain of shapes and whispers is
as tangible as time that blooms with gloss
of golden spirals delicately spun
beyond the brine of its congealing seas:
both take and choke whatever falls within
the circle of a trice that grows fast
and separates the future from the past
but those still merge: for it can only last
before the knotty hands of chance begin
to wriggle into heaven and to toss
another dawn until it is undone
and jingles like a broken clavecin
 
Source: Text and Image: Online

First Letter











FIRST LETTER
by Vlanes (Vladislav Nekliaev)
 
We crossed to the other side, the burgee of the boat
ceased flapping and lagged behind like a dead wing.
The visible air seemed neither cold nor hot,
the violet clouds flew past us, scurrying.
The plain was dark, and the mountain was tall,
and the echo swallowed the boatman's call.

The atmosphere was dense with the spirits
compressed into one possibility,
living each other, passing through the sieves
of their lungs the lukewarm brew of eternity,
swelling like a giant fruit, becoming more
conspicuous as the boatman's oar

touched the sand. The Shabtis jumped out at once,
the air filled up with the varying resonance
of their deep harsh voices. They picked up
the heavy stones, the logs lying around,
and carried them up the slope, happily
smiling and tossing the porous ground.

We stood on the shore, confused and reluctant to go.
What was expected of us ? Could we do more
than to die and cross here ?
We were a mere
shadow, fuming like a sacrificial flame,
spitting out images, always the same.

… I don't know why I am writing to you, my dear.
My Shabti is digging, and I am sitting here
listening to the groans of those less fortunate than us,
who didn't have a Shabti in their sarcophagus.
The only thing I was going to say
is that you must remember the taste of the coming day,
the veiny grasshopper sipping from the drop of dew:
only those things which appear unfettered, new.

Love them, be them, but be distinct from them,
do not let them possess something of you,
for every singing moment and every gem
will give you its own voice, and shape, and hue
known to the others, and they will be all compressed
eventually within your heartless chest.

Find what you do not share with anyone,
discover what is not impregnated with anything,
your own whizzing planets, your own sun,
ardently rolling along its mercurial string,
forests filled with creatures of gaudy shapes,
weird and unique, bright-yellow and orange grapes,

rivers bursting with colours, gardens in hectic bloom,
defying the very thought of decay and doom,
fish springing up, the mordents of their wings,
dogs, covered with scales, spiralling up the trees,
the huge moon reclining on its flaxen side,
pushed up and sliding down towards the lacy tide.

Take armfuls of what cannot shackle you
with another soul, and then go through.
I am locked in this ever-enlarging pit
like a tame unsuspecting magpie suddenly hit
with an arrow, a thousand times larger than it.
My hand stretches back, a long withered stem
which has lost its flowers, every one of them.

A dog chained and forgotten behind the hedge,
a malachite flower with the nut-brown edge,
a wave of rain bouncing off the painted wall,
crumpling the waxen papyri with its waterfall,
spreading around, ringing and splashing again,
mixing up memories, washing off life like a stain.
 
 
Source:  Image and Text:  Online

Thursday, May 5, 2011

Kobiguru Rabindranath Tagore









150th Birth Anniversary of Kobiguru Rabinranath Tagore on May 8th, 2011.




Marking 150th birth anniversary (May 8, 2011) of Nobel laureate poet, 'Kobiguru' Rabindranath Tagore, different organisations of Bangladesh have chalked out elaborate programmes.
Bangladesh and India have jointly organised a grand celebration on the occasion. The inaugural ceremony of a three-day programme will be held today at Bangabandhu International Conference Centre in Dhaka.
Prime Minister Sheikh Hasina and Vice President of India, Mohammed Hamid Ansari, will grace the event as guests of honour. Information and Cultural Affairs Minister Abul Kalam Azad will preside over the programme.
Starting from 9am, the three and a half hour long inaugural programme will start off with the renditions of National Anthems (both written by Rabindranath Tagore) of the two countries. Aside from speeches by the guests of honour, Professor Emeritus Anisuzzaman (Dhaka University) will deliver the main speech at the event. Noted artistes from both countries will perform songs, dances and recite poems.
A 10-day exhibition featuring paintings by 150 Bangladeshi artistes on the theme of 'Tagore's works' will be inaugurated at National Art Gallery of Bangladesh Shilpakala Academy (BSA) at 4:30pm on the opening day.
A cultural programme, titled "Hey Nuton Dekha Dik Aar-Bar" will follow at 6pm on the day at BSA. President of Chhayanaut, Dr. Sanjida Khatun will deliver a speech on Rabindra Sangeet on the occasion. Recitation, rendition and dance will be presented by the artistes of Bangladesh and India (Swagata Lakshmi Dasgupta, Soumitra Chatterjee, among others). A documentary, titled "Rabindranath in Bangladesh: Path Chawatei Anando", produced by Chanchal Khan, will be screened at 9:15pm at the venue.
On the second day (May 7), a seminar on "Rabindranath and Bangladesh" will be held at Bangla Academy at 3:30pm. Chaired by National Professor Kabir Chowdhury, the event will have Tagore exponent Ahmed Rafique presenting the keynote paper. A cultural programme will follow at BSA at 6:30pm where songs, recitation, and the dance-drama "Chitrangada" will be staged by Bangladeshi artistes. Kathak Kendra, India will stage a performance as well.
A seminar on "Rabindranath in 21st Century" will be held at the National Museum at 3:30pm on the third day (May 8). Chaired by Professor Sirajul Islam Chowdhury, the seminar will have Professor Sanat Kumar Saha presenting the keynote paper.
Bangladeshi and Indian poets will recite Tagore's and self-composed verses at BSA at 4pm on the third day. Apart from music performances by Bangladeshi artistes at the cultural programme to be held at 6:30pm at BSA, artistes of Jawaharlal Nehru Manipur Dance Academy, India will stage the dance-drama "Bidaye Abhishap". Artistes of Jibon Sanket Natyagosthi of Habiganj, Bangladesh will stage the play "Streer Patra" at the event.
Bangladesh Shilpakala Academy
An art competition for youngsters (aged between 5 and 18) will be held today at 3pm at the National Art Gallery plaza of BSA.
Theatre
Artistes of Theatre staged the Tagore play "Muktodhara" at National Theatre Hall of BSA yesterday. Naila Azad directed the 43rd production of Theatre.
Chhayanaut
Chhayanaut's yearlong celebration programme, titled “Rabindranath-er Haath-e Haath Rekhey Bangladesh”, was divided into seven phases featuring every aspect of Tagore's creation, including songs, plays, poetry and artworks. Chhayanaut students and teachers as well as leading Tagore artistes of the country participated in the previous six phases of the programme that were held at different venues including Shilaidaha, Kushtia.
The seventh and final phase will be held on May 7-9, 2011 at Chhayanaut auditorium. Abul Momen will deliver a lecture on "Rabindranath-er Shikkha Chinta" on the first day (May 7) of the final phase of the programme (starting from 6:30pm). Apart from this, solo and choral renditions, recitation, dance and launching of two books -- "Shardho Shatotomo Janmoborshey Rabindranath" and "Bani Tobo Dhay" -- will be held at the programme.
With a choral performance of the Tagore song, "Hey Nuton, Dekha Dik Aar-bar", the second day's (May 8) programme will begin at 6:30 am at Central Shaheed Minar. A discussion will be held at 8am at Chhayanaut Shangskriti Bhaban. In the evening, Bangladesh Bank Governor Dr. Atiur Rahman will deliver a lecture on "Atmoshokti Orjon-er Poth" at the event. Chhayanaut's presentation, titled "Esho Anandito Milon Ongoney", will wrap up the day's programme.
The concluding day's (May 9) programme will kick off with a chorus by the artistes of the school at Chhayanaut auditorium at 6:30pm. Dr. Anisuzzaman will deliver a special lecture on the occasion. Chhayanaut's yearlong programme will wrap up through staging of Tagore's lyrical dance-drama "Shyama".
Grameenphone sponsored the yearlong programme.
Bangladesh Rabindra Sangeet Shilpi Sangstha
Starting from May 4, the festival arranged by Bangladesh Rabindra Sangeet Shilpi Sangstha (BRSSS) will have a film screening at 11am today. Singer Tapan Mahmud will deliver a speech on "Bangladesh-e Rabindra Sangeet Chorchar Kromobikash" at 5pm. Apart from recitation and rendition, artistes of Bangladesh Academy of Fine Arts will stage Tagore's lyrical dance-drama "Shyama" (directed by Kabirul Islam Ratan).
Musical programme and film screening will also be held tomorrow (May 7) at 10am while artistes of Nagarik Natya Sampraday will stage the Tagore play "Achalayton" at 5:30pm.
Marking 87 birth anniversary of legendary singer Kalim Sarafi, a documentary on him titled "Poth-e Poth-e Dilam Chhoraiya", directed by Nishat Jahan Rana, will be screened at the venue at 5:30pm on the concluding day (May 8). Chief guest Professor Mustafa Nurul Islam will deliver a speech on "Shardho Shato Janmo Borshey Rabindranath" at 6:15pm. Starting from 7pm, a recitation and musical programme will wrap up the festival.
Robi Channel i
'Robi-Channel i Rabindra Mela' will be held at Channel i's Tejgaon centre between 10am and 4pm on May 8. Channel i will air the programme live.




Source: http://www.thedailystar.net/newDesign/news-details.php?nid=184365


Quotes by Maxim Gorky









Everybody, my friend, everybody lives for something better to come. That's why we want to be considerate of every man— Who knows what's in him, why he was born and what he can do?


One has to be able to count, if only so that at fifty one doesn't marry a girl of twenty.
Processing the human raw material is naturally more complicated than processing lumber.





Source:  Image and Text:  Online

Poem by Maxim Gorky






 

 

A revolutionary Poem by Maxim Gorky




“The Song of The Stormy Petrel”

High above the silvery ocean winds are gathering the storm-clouds,
and between the clouds and ocean proudly wheels the Stormy Petrel,
like a streak of sable lightning.
Now his wing the wave caresses,
now he rises like an arrow,
cleaving clouds and crying fiercely,
while the clouds detect a rapture in the bird’s courageous crying.
In that crying sounds a craving for the tempest!
Sounds the flaming of his passion,
of his anger,
of his confidence in triumph.
The gulls are moaning in their terror–moaning,
darting o’er the waters,
and would gladly hide their horror in the inky depths of ocean.
And the grebes are also moaning.
Not for them the nameless rapture of the struggle.
They are frightened by the crashing of the thunder.
And the foolish penguins cower in the crevices of rocks,
while alone the Stormy Petrel proudly wheels above the ocean,
o’er the silver-frothing waters.
Ever lower,
ever blacker,
sink the stormclouds to the sea,
and the singing waves are mounting in their yearning toward the thunder.
Strikes the thunder.
Now the waters fiercely battle with the winds.
And the winds in fury seize them in unbreakable embrace,
hurtling down the emerald masses to be shattered on the cliffs.
Like a streak of sable lightning wheels and cries the Stormy Petrel,
piercing storm-clouds like an arrow,
cutting swiftly through the waters.
He is coursing like a Demon,
the black Demon of the tempest,
ever laughing, ever sobbing–he is laughing at the storm-clouds,
he is sobbing with his rapture.
In the crashing of the thunder the wise Demon hears a murmur of exhaustion.
And he is knows the strom will die and the sun will be triumphant;
the sun will always be triumphant!
The waters roar.
The thunder crashes.
Livid lightning flares in storm clouds high above the seething ocean,
and the flaming darts are captured and extinguished by the waters,
while the serpentine reflections writhe, expiring, in the deep.
It’s the storm! The storm is breaking!
Still the valiant Stormy Petrel proudly wheels among the lightning,
o’er the roaring, raging ocean,
and his cry resounds exultant, like a prophecy of triumph—
Let it break in all its fury!





Source:  Text and Image:  Online

Her Lover




























Her Lover

by Maxim Gorky



An acquaintance of mine once told me the following story.

When I was a student at Moscow I happened to live alongside one of those ladies whose repute is questionable. She was a Pole, and they called her Teresa. She was a tallish, powerfully-built brunette, with black, bushy eyebrows and a large coarse face as if carved out by a hatchet--the bestial gleam of her dark eyes, her thick bass voice, her cabman-like gait and her immense muscular vigour, worthy of a fishwife, inspired me with horror. I lived on the top flight and her garret was opposite to mine. I never left my door open when I knew her to be at home. But this, after all, was a very rare occurrence. Sometimes I chanced to meet her on the staircase or in the yard, and she would smile upon me with a smile which seemed to me to be sly and cynical. Occasionally, I saw her drunk, with bleary eyes, tousled hair, and a particularly hideous grin. On such occasions she would speak to me.

"How d'ye do, Mr. Student!" and her stupid laugh would still further intensify my loathing of her. I should have liked to have changed my quarters in order to have avoided such encounters and greetings; but my little chamber was a nice one, and there was such a wide view from the window, and it was always so quiet in the street below--so I endured.

And one morning I was sprawling on my couch, trying to find some sort of excuse for not attending my class, when the door opened, and the bass voice of Teresa the loathsome resounded from my threshold:
"Good health to you, Mr. Student!"

"What do you want?" I said. I saw that her face was confused and supplicatory... It was a very unusual sort of face for her.

"Sir! I want to beg a favour of you. Will you grant it me?"

I lay there silent, and thought to myself:

"Gracious!... Courage, my boy!"

"I want to send a letter home, that's what it is," she said; her voice was beseeching, soft, timid.

"Deuce take you!" I thought; but up I jumped, sat down at my table, took a sheet of paper, and said:

"Come here, sit down, and dictate!"

She came, sat down very gingerly on a chair, and looked at me with a guilty look.

"Well, to whom do you want to write?"

"To Boleslav Kashput, at the town of Svieptziana, on the Warsaw Road..."

"Well, fire away!"

"My dear Boles ... my darling ... my faithful lover. May the Mother of God protect thee! Thou heart of gold, why hast thou not written for such a long time to thy sorrowing little dove, Teresa?"

I very nearly burst out laughing. "A sorrowing little dove!" more than five feet high, with fists a stone and more in weight, and as black a face as if the little dove had lived all its life in a chimney, and had never once washed itself! Restraining myself somehow, I asked:

"Who is this Bolest?"

"Boles, Mr. Student," she said, as if offended with me for blundering over the name, "he is Boles--my young man."

"Young man!"

"Why are you so surprised, sir? Cannot I, a girl, have a young man?"

She? A girl? Well!

"Oh, why not?" I said. "All things are possible. And has he been your young man long?"

"Six years."

"Oh, ho!" I thought. "Well, let us write your letter..."

And I tell you plainly that I would willingly have changed places with this Boles if his fair correspondent had been not Teresa but something less than she.

"I thank you most heartily, sir, for your kind services," said Teresa to me, with a curtsey. "Perhaps I can show you some service, eh?"

"No, I most humbly thank you all the same."

"Perhaps, sir, your shirts or your trousers may want a little mending?"

I felt that this mastodon in petticoats had made me grow quite red with shame, and I told her pretty sharply that I had no need whatever of her services.

She departed.

A week or two passed away. It was evening. I was sitting at my window whistling and thinking of some expedient for enabling me to get away from myself. I was bored; the weather was dirty. I didn't want to go out, and out of sheer ennui I began a course of self-analysis and reflection. This also was dull enough work, but I didn't care about doing anything else. Then the door opened. Heaven be praised! Some one came in.
"Oh, Mr. Student, you have no pressing business, I hope?"

It was Teresa. Humph!

"No. What is it?"

"I was going to ask you, sir, to write me another letter."

"Very well! To Boles, eh?"

"No, this time it is from him."

"Wha-at?"

"Stupid that I am! It is not for me, Mr. Student, I beg your pardon. It is for a friend of mine, that is to say, not a friend but an acquaintance--a man acquaintance. He has a sweetheart just like me here, Teresa. That's how it is. Will you, sir, write a letter to this Teresa?"

I looked at her--her face was troubled, her fingers were trembling. I was a bit fogged at first--and then I guessed how it was.

"Look here, my lady," I said, "there are no Boleses or Teresas at all, and you've been telling me a pack of lies. Don't you come sneaking about me any longer. I have no wish whatever to cultivate your acquaintance. Do you understand?"

And suddenly she grew strangely terrified and distraught; she began to shift from foot to foot without moving from the place, and spluttered comically, as if she wanted to say something and couldn't. I waited to see what would come of all this, and I saw and felt that, apparently, I had made a great mistake in suspecting her of wishing to draw me from the path of righteousness. It was evidently something very different.

"Mr. Student!" she began, and suddenly, waving her hand, she turned abruptly towards the door and went out. I remained with a very unpleasant feeling in my mind. I listened. Her door was flung violently to--plainly the poor wench was very angry... I thought it over, and resolved to go to her, and, inviting her to come in here, write everything she wanted.

I entered her apartment. I looked round. She was sitting at the table, leaning on her elbows, with her head in her hands.

"Listen to me," I said.

Now, whenever I come to this point in my story, I always feel horribly awkward and idiotic. Well, well!
"Listen to me," I said.

She leaped from her seat, came towards me with flashing eyes, and laying her hands on my shoulders, began to whisper, or rather to hum in her peculiar bass voice:

"Look you, now! It's like this. There's no Boles at all, and there's no Teresa either. But what's that to you? Is it a hard thing for you to draw your pen over paper? Eh? Ah, and you, too! Still such a little fair-haired boy! There's nobody at all, neither Boles, nor Teresa, only me. There you have it, and much good may it do you!"
"Pardon me!" said I, altogether flabbergasted by such a reception, "what is it all about? There's no Boles, you say?"

"No. So it is."

"And no Teresa either?"

"And no Teresa. I'm Teresa."

I didn't understand it at all. I fixed my eyes upon her, and tried to make out which of us was taking leave of his or her senses. But she went again to the table, searched about for something, came back to me, and said in an offended tone:

"If it was so hard for you to write to Boles, look, there's your letter, take it! Others will write for me."
I looked. In her hand was my letter to Boles. Phew!

"Listen, Teresa! What is the meaning of all this? Why must you get others to write for you when I have already written it, and you haven't sent it?"

"Sent it where?"

"Why, to this--Boles."

"There's no such person."

I absolutely did not understand it. There was nothing for me but to spit and go. Then she explained.

"What is it?" she said, still offended. "There's no such person, I tell you," and she extended her arms as if she herself did not understand why there should be no such person. "But I wanted him to be... Am I then not a human creature like the rest of them? Yes, yes, I know, I know, of course... Yet no harm was done to any one by my writing to him that I can see..."

"Pardon me--to whom?"

"To Boles, of course."

"But he doesn't exist."

"Alas! alas! But what if he doesn't? He doesn't exist, but he might! I write to him, and it looks as if he did exist. And Teresa--that's me, and he replies to me, and then I write to him again..."

I understood at last. And I felt so sick, so miserable, so ashamed, somehow. Alongside of me, not three yards away, lived a human creature who had nobody in the world to treat her kindly, affectionately, and this human being had invented a friend for herself!

"Look, now! you wrote me a letter to Boles, and I gave it to some one else to read it to me; and when they read it to me I listened and fancied that Boles was there. And I asked you to write me a letter from Boles to Teresa--that is to me. When they write such a letter for me, and read it to me, I feel quite sure that Boles is there. And life grows easier for me in consequence."

"Deuce take you for a blockhead!" said I to myself when I heard this.

And from thenceforth, regularly, twice a week, I wrote a letter to Boles, and an answer from Boles to Teresa. I wrote those answers well... She, of course, listened to them, and wept like anything, roared, I should say, with her bass voice. And in return for my thus moving her to tears by real letters from the imaginary Boles, she began to mend the holes I had in my socks, shirts, and other articles of clothing.

Subsequently, about three months after this history began, they put her in prison for something or other. No doubt by this time she is dead.

My acquaintance shook the ash from his cigarette, looked pensively up at the sky, and thus concluded:
Well, well, the more a human creature has tasted of bitter things the more it hungers after the sweet things of life. And we, wrapped round in the rags of our virtues, and regarding others through the mist of our self-sufficiency, and persuaded of our universal impeccability, do not understand this.

And the whole thing turns out pretty stupidly--and very cruelly. The fallen classes, we say. And who are the fallen classes, I should like to know? They are, first of all, people with the same bones, flesh, and blood and nerves as ourselves. We have been told this day after day for ages. And we actually listen--and the devil only knows how hideous the whole thing is. Or are we completely depraved by the loud sermonising of humanism? In reality, we also are fallen folks, and, so far as I can see, very deeply fallen into the abyss of self-sufficiency and the conviction of our own superiority. But enough of this. It is all as old as the hills--so old that it is a shame to speak of it. Very old indeed--
yes, that's what it is!





Source:  Image and Text:  Online

Autumn Night








“Autumn night”


Maxim Gorky (1868-1936)

Once in the autumn I happened to be in a very unpleasant and inconvenient position. In the town where I had just arrived and where I knew not a soul, I found myself without a farthing in my pocket and without a night's lodging.
Having sold during the first few days every part of my costume without which it was still possible to go about, I passed from the town into the quarter called “Yste,” where were the steamship wharves – a quarter which during the navigation season fermented with boisterous, laborious life, but now was silent and deserted, for we were in the last days of October.

Dragging my feet along the moist sand, and obstinately scrutinising it with the desire to discover in it any sort of fragment of food, I wandered alone among the deserted buildings and warehouses, and thought how good it would be to get a full meal.

In our present state of culture hunger of the mind is more quickly satisfied than hunger of the body. You wander about the streets, you are surrounded by buildings not bad-looking from the outside and – you may safely say it – not so badly furnished inside, and the sight of them may excite within you stimulating ideas about architecture, hygiene, and many other wise and high-flying subjects. You may meet warmly and neatly dressed folks – all very polite, and turning away from you tactfully, not wishing offensively to notice the lamentable fact of your existence. Well, well, the mind of a hungry man is always better nourished and healthier than the mind of the well-fed man; and there you have a situation from which you may draw a very ingenious conclusion in favour of the ill fed.

The evening was approaching, the rain was falling, and the wind blew violently from the north. It whistled in the empty booths and shops, blew into the plastered window-panes of the taverns, and whipped into foam the wavelets of the river which splashed noisily on the sandy shore, casting high their white crests, racing one after another into the dim distance, and leaping impetuously over one another's shoulders. It seemed as if the river felt the proximity of winter, and was running at random away from the fetters of ice which the north wind might well have flung upon her that very night. The sky was heavy and dark; down from it swept incessantly scarcely visible drops of rain, and the melancholy elegy in nature all around me was emphasised by a couple of battered and misshapen willow-trees and a boat, bottom upwards, that was fastened to their roots.

The overturned canoe with its battered keel and the miserable old trees rifled by the cold wind – everything around me was bankrupt, barren, and dead, and the sky flowed with undryable tears… Everything around was waste and gloomy … it seemed as if everything were dead, leaving me alone among the living, and for me also a cold death waited.

I was then eighteen years old – a good time!

I walked and walked along the cold wet sand, making my chattering teeth warble in honour of cold and hunger, when suddenly, as I was carefully searching for something to eat behind one of the empty crates, I perceived behind it, crouching on the ground, a figure in woman's clothes dank with the rain and clinging fast to her stooping shoulders. Standing over her, I watched to see what she was doing. It appeared that she was digging a trench in the sand with her hands – digging away under one of the crates.

“Why are you doing that?” I asked, crouching down on my heels quite close to her.

She gave a little scream and was quickly on her legs again. Now that she stood there staring at me, with her wide-open grey eyes full of terror, I perceived that it was a girl of my own age, with a very pleasant face embellished unfortunately by three large blue marks. This spoilt her, although these blue marks had been distributed with a remarkable sense of proportion, one at a time, and all were of equal size – two under the eyes, and one a little bigger on the forehead just over the bridge of the nose. This symmetry was evidently the work of an artist well inured to the business of spoiling the human physiognomy.

The girl looked at me, and the terror in her eyes gradually died out… She shook the sand from her hands, adjusted her cotton head-gear, cowered down, and said:

“I suppose you too want something to eat? Dig away then! My hands are tired. Over there” – she nodded her head in the direction of a booth – “there is bread for certain … and sausages too… That booth is still carrying on business.”

I began to dig. She, after waiting a little and looking at me, sat down beside me and began to help me.
We worked in silence. I cannot say now whether I thought at that moment of the criminal code, of morality, of proprietorship, and all the other things about which, in the opinion of many experienced persons, one ought to think every moment of one's life. Wishing to keep as close to the truth as possible, I must confess that apparently I was so deeply engaged in digging under the crate that I completely forgot about everything else except this one thing: What could be inside that crate?

The evening drew on. The grey, mouldy, cold fog grew thicker and thicker around us. The waves roared with a hollower sound than before, and the rain pattered down on the boards of that crate more loudly and more frequently. Somewhere or other the night-watchman began springing his rattle.

“Has it got a bottom or not?” softly inquired my assistant. I did not understand what she was talking about, and I kept silence.

“I say, has the crate got a bottom? If it has we shall try in vain to break into it. Here we are digging a trench, and we may, after all, come upon nothing but solid boards. How shall we take them off? Better smash the lock; it is a wretched lock.”

Good ideas rarely visit the heads of women, but, as you see, they do visit them sometimes. I have always valued good ideas, and have always tried to utilise them as far as possible.

Having found the lock, I tugged at it and wrenched off the whole thing. My accomplice immediately stooped down and wriggled like a serpent into the gaping-open, four cornered cover of the crate whence she called to me approvingly, in a low tone:

“You're a brick!”

Nowadays a little crumb of praise from a woman is dearer to me than a whole dithyramb from a man, even though he be more eloquent than all the ancient and modern orators put together. Then, however, I was less amiably disposed than I am now, and, paying no attention to the compliment of my comrade, I asked her curtly and anxiously:

“Is there anything?”

In a monotonous tone she set about calculating our discoveries.

“A basketful of bottles – thick furs – a sunshade – an iron pail.”

All this was uneatable. I felt that my hopes had vanished… But suddenly she exclaimed vivaciously:

“Aha! here it is!”

“What?”

“Bread … a loaf … it's only wet … take it!”

A loaf flew to my feet and after it herself, my valiant comrade. I had already bitten off a morsel, stuffed it in my mouth, and was chewing it…

“Come, give me some too!… And we mustn't stay here… Where shall we go?” she looked inquiringly about on all sides… It was dark, wet, and boisterous.

“Look! there's an upset canoe yonder … let us go there.”

“Let us go then!” And off we set, demolishing our booty as we went, and filling our mouths with large portions of it… The rain grew more violent, the river roared; from somewhere or other resounded a prolonged mocking whistle – just as if Someone great who feared nobody was whistling down all earthly institutions and along with them this horrid autumnal wind and us its heroes. This whistling made my heart throb painfully, in spite of which I greedily went on eating, and in this respect the girl, walking on my left hand, kept even pace with me.

“What do they call you?” I asked her – why I know not.

“Natasha,” she answered shortly, munching loudly.

I stared at her. My heart ached within me; and then I stared into the mist before me, and it seemed to me as if the inimical countenance of my Destiny was smiling at me enigmatically and coldly.
The rain scourged the timbers of the skiff incessantly, and its soft patter induced melancholy thoughts, and the wind whistled as it flew down into the boat's battered bottom through a rift, where some loose splinters of wood were rattling together – a disquieting and depressing sound. The waves of the river were splashing on the shore, and sounded so monotonous and hopeless, just as if they were telling something unbearably dull and heavy, which was boring them into utter disgust, something from which they wanted to run away and yet were obliged to talk about all the same. The sound of the rain blended with their splashing, and a long-drawn sigh seemed to be floating above the overturned skiff – the endless, labouring sigh of the earth, injured and exhausted by the eternal changes from the bright and warm summer to the cold misty and damp autumn. The wind blew continually over the desolate shore and the foaming river – blew and sang its melancholy songs…
Our position beneath the shelter of the skiff was utterly devoid of comfort; it was narrow and damp, tiny cold drops of rain dribbled through the damaged bottom; gusts of wind penetrated it. We sat in silence and shivered with cold. I remembered that I wanted to go to sleep. Natasha leaned her back against the hull of the boat and curled herself up into a tiny ball. Embracing her knees with her hands, and resting her chin upon them, she stared doggedly at the river with wide-open eyes; on the pale patch of her face they seemed immense, because of the blue marks below them. She never moved, and this immobility and silence – I felt it – gradually produced within me a terror of my neighbour. I wanted to talk to her, but I knew not how to begin.

It was she herself who spoke.

“What a cursed thing life is!” she exclaimed plainly, abstractedly, and in a tone of deep conviction.
But this was no complaint. In these words there was too much of indifference for a complaint. This simple soul thought according to her understanding – thought and proceeded to form a certain conclusion which she expressed aloud, and which I could not confute for fear of contradicting myself. Therefore I was silent, and she, as if she had not noticed me, continued to sit there immovable.

“Even if we croaked … what then…?” Natasha began again, this time quietly and reflectively, and still there was not one note of complaint in her words. It was plain that this person, in the course of her reflections on life, was regarding her own case, and had arrived at the conviction that in order to preserve herself from the mockeries of life, she was not in a position to do anything else but simply “croak” – to use her own expression.

The clearness of this line of thought was inexpressibly sad and painful to me, and I felt that if I kept silence any longer I was really bound to weep… And it would have been shameful to have done this before a woman, especially as she was not weeping herself. I resolved to speak to her.

“Who was it that knocked you about?” I asked. For the moment I could not think of anything more sensible or more delicate.

“Pashka did it all,” she answered in a dull and level tone.

“And who is he?”

“My lover… He was a baker.”

“Did he beat you often?”

“Whenever he was drunk he beat me… Often!”

And suddenly, turning towards me, she began to talk about herself, Pashka, and their mutual relations. He was a baker with red moustaches and played very well on the banjo. He came to see her and greatly pleased her, for he was a merry chap and wore nice clean clothes. He had a vest which cost fifteen rubles and boots with dress tops. For these reasons she had fallen in love with him, and he became her “creditor.” And when he became her creditor he made it his business to take away from her the money which her other friends gave to her for bonbons, and, getting drunk on this money, he would fall to beating her; but that would have been nothing if he hadn't also begun to “run after” other girls before her very eyes.

“Now, wasn't that an insult? I am not worse than the others. Of course that meant that he was laughing at me, the blackguard. The day before yesterday I asked leave of my mistress to go out for a bit, went to him, and there I found Dimka sitting beside him drunk. And he, too, was half seas over. I said, 'You scoundrel, you!' And he gave me a thorough hiding. He kicked me and dragged me by the hair. But that was nothing to what came after. He spoiled everything I had on – left me just as I am now! How could I appear before my mistress? He spoiled everything … my dress and my jacket too – it was quite a new one; I gave a fiver for it … and tore my kerchief from my head… Oh, Lord! What will become of me now?” she suddenly whined in a lamentable overstrained voice.

The wind howled, and became ever colder and more boisterous… Again my teeth began to dance up and down, and she, huddled up to avoid the cold, pressed as closely to me as she could, so that I could see the gleam of her eyes through the darkness.

“What wretches all you men are! I'd burn you all in an oven; I'd cut you in pieces. If any one of you was dying I'd spit in his mouth, and not pity him a bit. Mean skunks! You wheedle and wheedle, you wag your tails like cringing dogs, and we fools give ourselves up to you, and it's all up with us! Immediately you trample us underfoot… Miserable loafers'”

She cursed us up and down, but there was no vigour, no malice, no hatred of these “miserable loafers” in her cursing that I could hear. The tone of her language by no means corresponded with its subject-matter, for it was calm enough, and the gamut of her voice was terribly poor.

Yet all this made a stronger impression on me than the most eloquent and convincing pessimistic bocks and speeches, of which I had read a good many and which I still read to this day. And this, you see, was because the agony of a dying person is much more natural and violent than the most minute and picturesque descriptions of death.

I felt really wretched – more from cold than from the words of my neighbour. I groaned softly and ground my teeth.

Almost at the same moment I felt two little arms about me – one of them touched my neck and the other lay upon my face – and at the same time an anxious, gentle, friendly voice uttered the question:

“What ails you?”

I was ready to believe that some one else was asking me this and not Natasha, who had just declared that all men were scoundrels, and expressed a wish for their destruction. But she it was, and now she began speaking quickly, hurriedly.

“What ails you, eh? Are you cold? Are you frozen? Ah, what a one you are, sitting there so silent like a little owl! Why, you should have told me long ago that you were cold. Come … lie on the ground … stretch yourself out and I will lie … there! How's that? Now put your arms round me?… tighter! How's that? You shall be warm very soon now… And then we'll lie back to back… The night will pass so quickly, see if it won't. I say … have you too been drinking?… Turned out of your place, eh?… It doesn't matter.”
And she comforted me… She encouraged me.

May I be thrice accursed! What a world of irony was in this single fact for me! Just imagine! Here was I, seriously occupied at this very time with the destiny of humanity, thinking of the re-organisation of the social system, of political revolutions, reading all sorts of devilishly-wise books whose abysmal profundity was certainly unfathomable by their very authors – at this very time. I say, I was trying with all my might to make of myself “a potent active social force.” It even seemed to me that I had partially accomplished my object; anyhow, at this time, in my ideas about myself, I had got so far as to recognise that I had an exclusive right to exist, that I had the necessary greatness to deserve to live my life, and that I was fully competent to play a great historical part therein. And a woman was now warming me with her body, a wretched, battered, hunted creature, who had no place and no value in life, and whom I had never thought of helping till she helped me herself, and whom I really would not have known how to help in any way even if the thought of it had occurred to me.

Ah! I was ready to think that all this was happening to me in a dream – in a disagreeable, an oppressive dream.

But, ugh! it was impossible for me to think that, for cold drops of rain were dripping down upon me, the woman was pressing close to me, her warm breath was fanning my face, and – despite a slight odor of vodka – it did me good. The wind howled and raged, the rain smote upon the skiff, the waves splashed, and both of us, embracing each other convulsively, nevertheless shivered with cold. All this was only too real, and I am certain that nobody ever dreamed such an oppressive and horrid dream as that reality.
But Natasha was talking all the time of something or other, talking kindly and sympathetically, as only women can talk. Beneath the influence of her voice and kindly words a little fire began to burn up within me, and something inside my heart thawed in consequence.

Then tears poured from my eyes like a hailstorm, washing away from my heart much that was evil, much that war, stupid, much sorrow and dirt which had fastened upon it before that night. Natasha comforted me.

“Come, come, that will do, little one! Don't take on! That'll do! God will give you another chance … you will right yourself and stand in your proper place again … and it will be all right…”

And she kept kissing me … many kisses did she give me … burning kisses … and all for nothing…
Those were the first kisses from a woman that had ever been bestowed upon me, and they were the best kisses too, for all the subsequent kisses cost me frightfully dear, and really gave me nothing at all in exchange.
“Come, don't take on so, funny one! I'll manage for you to-morrow if you cannot find a place.” Her quiet persuasive whispering sounded in my ears as if it came through a dream…

There we lay till dawn…

And when the dawn came, we crept from behind the skiff and went into the town… Then we took friendly leave of each other and never met again, although for half a year I searched in every hole and corner for that kind Natasha, with whom I spent the autumn night just described.

If she be already dead – and well for her if it were so – may she rest in peace! And if she be alive … still I say “Peace to her soul!” And may the consciousness of her fall never enter her soul … for that would be a superfluous and fruitless suffering if life is to be lived…






Source:  Image and Text:  Online

Death Of The Poet by Mikhail Lermontov










Mikhail Lermontov (1814-1841)



 

Death Of The Poet

The Bard is killed! The honor's striver
Fell, slandered by a gossip's dread,
With lead in breast and vengeful fire,
Drooped with his ever-proud head.
The Poet's soul did not bear
The shameful hurts of low breed,
He fought against the worldly “faire,”
Alone as always,… and is killed!
He's killed! What for are late orations
Of useless praise; and weeps and moans,
And gibberish of explanations? -
The fate had brought her verdict on!
Had not you first so hard maltreated
His free and brave poetic gift,
And, for your pleasure, fanned and fitted
The fire that in ashes drifts?
You may be happy… Those tortures
Had broken his strength, at last:
Like light, had failed the genius gorgeous;
The sumptuous wreath had weathered fast.
His murderer, without mercy,
Betook his aim and bloody chance,
His empty heart is calm and healthy,
The pistol did not tremble once.
And what is wonder?… From a distance,
By road of manifold exiles,
He came to us, by fatal instance,
To catch his fortune, rank and price.
Detested he the alien lands
Traditions, language and discussions;
He couldn't spare The Fame of Russians
And fathom – till last instant rushes -
What a disaster grips his hand!…
And he is killed, and leaves from here,
As that young Bard, mysterious but dear,
The prey of vengeance, deaf and bland,
Who sang he of, so lyric and sincere,
Who too was put to death by similar a hand.
And why, from peaceful times and simple-hearted fellows,
He entered this high life, so stiff and so jealous
Of freedom-loving heart and passions full of flame?
Why did he give his hand to slanders, mean and worthless
Why trusted their words and their oaths, godless,
He, who from youth had caught the mankind's frame?
And then his wreath, a crown of sloe,
Woven with bays, they put on Poet's head;
The thorns, that secretly were grown,
Were stinging famous brow, yet.
His life's fast end was poisoned with a gurgle
And faithless whisper of the mocking fops,
And died he with burning thrust for struggle,
With hid vexation for his cheated hopes.
The charming lyre is now silent,
It will be never heard by us:
The bard's abode is grim and tightened,
And seal is placed on his mouth.

And you, oh, vainglory decedents
Of famous fathers, so mean and base,
Who've trod with ushers' feet the remnants
Of clans, offended by the fortune's plays!
In greedy crowd standing by the throne,
The foes of Freedom, Genius, and Repute -
You're hid in shadow of a law-stone,
For you, and truth and justice must be mute!…
But there is Court of God, you, evil manifold! -
The terrible court: it waits;
It's not reached by a ring of gold,
It knows, in advance, all thoughts' and actions' weights.
Then you, in vain, will try to bring your evil voice on:
It will not help you to be right,
And you will not wash of with all your bloody poison,
The Poet's righteous blood!




Source:  Image and Text:  Online

Mikhail Lermontov












Mikhail Lermontov (1814-1841) Poems


No, I'm not Byron…

No, I'm not Byron; I am, yet,
Another choice for the sacred dole,
Like him – a persecuted soul,
But only of the Russian set.
I early start and end the whole,
And will not win the future days;
Like in an ocean, in my soul,
A cargo of lost hopes stays.
Who, oh, my ocean severe,
Could read all secrets in your scroll?
Who'll tell the people my idea?
I will or God or none at all!
Forever you, the unwashed Russia…
Forever you, the unwashed Russia!
The land of slaves, the land of lords:
And you, the blue-uniformed ushers,
And people who worship them as gods.
I hope, from your tyrannic hounds
To save me with Caucasian wall:
From their eye that sees through ground,
From their ears that hear all.



I come out to the path, alone…

I come out to the path, alone,
Night and wildness are referred to God,
Through the mist, the road gleams with stone,
Stars are speaking in the shinning lot.
There is grave and wonderful in heaven;
Earth is sleeping in a pale-blue light…
Why is then my heart such pined and heavy?
Is it waiting or regretting plight?
I expect that nothing more goes,
And for past I do not have regret,
I wish only freedom and repose,
I would fall asleep and all forget…
I would like to fall asleep forever,
But without cold sleep of death:
Let my breast be full of dozing fervor
For the life, and heave in gentle breath;
So that enchanting voice would ready
Day and night to sing to me of love,
And the oak, evergreen and shady,
Would decline to me and rustle above.



The Beggar

By gates of an abode, blessed,
A man stood, asking for donation,
A beggar, cruelly oppressed
By hunger, thirst and deprivation.
He asked just for a peace of bread,
And all his looks were full of anguish,
And was a cold stone laid
Into his stretched arm, thin and languished.
Thus I prayed vainly for your love,
With bitter tears, pine and fervor,
Thus my best senses, that have thrived,
Were victimized by you forever!




Source:  Image and Text:  Online

Enemy....








                                     



Enemy at the Gates

is a 2001 war film directed by Jean-Jacques Annaud, starring Jude Law, Joseph Fiennes and Ed Harris set during the Battle of Stalingrad in World War II.
The film's title is taken from William Craig's 1973 nonfiction book Enemy at the Gates: The Battle for Stalingrad, which describes the events surrounding the Battle of Stalingrad from 1942–1943. It is based on a duel mentioned in the book that developed between the legendary Soviet sniper Vasily Grigoryevich Zaitsev and his German counterpart, Major Erwin König, as they stalk each other during the battle. The movie is also partially based on the book War of the Rats.




Plot: 

In 1942, Vassili Zaitsev (Jude Law), a shepherd from the Ural Mountains who is now a soldier in the Red Army, finds himself on the front lines of the Battle of Stalingrad. Sent on a suicidal charge against the invading Germans, he uses impressive marksmanship skills—taught to him by his grandfather from a young age—to save himself and commissar Danilov (Joseph Fiennes). Nikita Khrushchev (Bob Hoskins) arrives in Stalingrad to coordinate the city's defenses and demands ideas to improve morale. Danilov, now a senior Lieutenant, suggests that the people need figures to idolize, and publishes tales of Vassili's exploits in the army's newspaper that paint him as a national hero and propaganda icon. Vassili is transferred to the sniper division, and he and Danilov become friends. They also both become romantically interested in Tania (Rachel Weisz), a citizen of Stalingrad who has become a Private in the local militia. Danilov has her transferred to an intelligence unit away from the battlefield.
With the Soviet snipers taking an increasing toll on the German forces, German Major Erwin König (Ed Harris) is deployed to Stalingrad to take out Vassili and thus crush Soviet morale. A renowned marksman and head of the German Army sniper school at Zossen, he lures Vassili into a trap and takes out two of his fellow snipers, but Vassili manages to escape. When the Red Army command learns of König's mission, they dispatch his former student Koulikov (Ron Perlman) to help Vassili kill him. However, König tricks Koulikov into revealing his position and kills him with a very skillful shot, shaking Vassili's spirits considerably. Khrushchev pressures Danilov to bring the sniper standoff to a conclusion.
When Tania requests to be reassigned to the sniper division, Danilov asks Vassili to discourage her. Vassili attempts to do so, but relents when Tania tells him how her Jewish parents were murdered by the Germans. Danilov recruits young local boy Sacha Fillipov (Gabriel Thomson), who idolizes Vassili and does small jobs for the Germans in exchange for food, to act as a double agent by passing König false information about Vassili's whereabouts, thus giving Vassili a chance to ambush the Major. Vassili sets a trap for König and manages to wound him, but during a second attempt Vassili falls asleep after many hours and his sniper log is taken by a looting German soldier. The German command takes the log as evidence of Vassili's death and plans to send König home, but the Major does not believe that Vassili is dead. He tells Sacha where he will be next, suspecting that the boy will tell Vassili. Tania and Vassili have meanwhile fallen in love, and the jealous Danilov disparages Vassili in a letter to his superiors.
König spots Tania and Vassili waiting for him at his next ambush, confirming his suspicions about Sacha. He kills the boy and hangs his body from a pole to bait Vassili. Vassili vows to kill König and sends Tania and Danilov to evacuate Sacha's mother (Eva Mattes) from the city, but Tania is wounded by shrapnel en route to the evacuation boats. Thinking her dead, Danilov laments his jealousy for Vassili and his resulting disenchantment with the communist cause. Finding Vassili waiting to ambush König, Danilov intentionally exposes himself in order to reveal the Major's position and is killed. Thinking he has killed Vassili, König goes to inspect the body, but realizes too late that he has fallen into a trap and is in Vassili's sights. He turns to face Vassili, who then kills him. Two months later, after Stalingrad has been liberated and the German forces have surrendered, Vassili finds Tania recovering in a field hospital.





Source:  Image and Text:  Online


Wednesday, May 4, 2011

Best Antioxidant for You.....


                                         

           

                                        




Broccoli is a great source of cancer-fighters called isothiocyanates. It’s also rich in quercetin, which supports cancer prevention and healthy blood pressure. (You’ll also find quercetin in red onions, red grapes, tomatoes, capers and citrus fruit.)

Almonds, plant oils, wheat germ, safflower, corn and soybeans are loaded with vitamin E.

Lycopene-rich tomatoes, papaya, watermelon, guava, apricots and pink grapefruit support prostate health for men.

Some antioxidants target specific organs.

For example, lutein and zeaxanthin (both found in green, leafy vegetables like spinach and kale) are important for healthy eyes; grape seed and skin extracts support circulation.

Do antioxidant-rich cosmetics and skin creams really work? Are the benefits better than antioxidants you eat?Skin protection comes from inside and out, so getting your antioxidants from both diet and skin creams is best.

Antioxidants from fruit extracts and other dietary sources can reduce skin damage caused by the sun and environmental pollutants. It works the same way plants produce carotenoids to absorb harmful sun rays before they can damage leaves or other parts of the plant.

In humans, dietary antioxidants may play a significant role in protecting new skin.






Source:  Lifescript.com    
Image: Online



The Mahdi












Muhammad Ahmad ibn as Sayyid Abd Allah (otherwise known as The Mahdi or Mohammed Ahmed) (August 12, 1844 – June 22, 1885)

was behind the destruction of the British garrison at Khartoum and the murder of Governor General Charles Gordon - a profound shock to imperial Britain.
Ahmad made his name fighting a rival imperial power the "infidel" government loyal to the Ottoman Sultan.
                                              The British government, and even Gordon, underestimated the threat posed by Ahmad until it was too late and the garrison at Khartoum had been annihilated.
                                              Ahmad was not killed in a British raid - he died of typhus. But Lord Kitchener destroyed his tomb to prevent it becoming a rallying point for disciples and had his bones thrown into the Nile.
                                              Kitchener is said to have retained the skull as a paperweight.
There are lessons from Ahmad's movement - he had chosen three deputies to succeed him who they began squabbling as soon as he died. The movement unravelled as a result.
                                              Ahmad's tomb was, however, subsequently rebuilt.






Source: Text and Image:  Online

Journalists





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Young journalists at the CIMT in !




Source:  Text and Image:  Online



Where now then?.....










PUSHKIN'S POEMS



I

"Where now then? Ah, these poetic characters!"
"Goodbye, Yevgeny, it's time. I must.."
"I do not keep you. But tell me, please,
Where do you spend your evenings now?"
" At the Larins." "Ah, there, but how strange.
Good heavens! Is it not torture fit to bust
To slaughter every evening there?"
"Not at all." "I cannot understand you.
Ah yes, I see it, what it must be
In the first place (admit it, is it true?)
A simple Russian family,
With over zealous hospitality,
Preserves and chutneys and endless prattle
About rain, about crops, and about their cattle."



II
"I still see nothing wrong in that ."
"But tedious, that's what is wrong, my friend."
"I hate your modern, fashionable set.
Give me the home life and home circle,
Where I may…" "Ah! How pastoral!
Enough, enough. For God's sake Lensky.
Well? So you're going? What a pity.
But listen: is it impossible
For me to see this gentle Phyllida,
The object of your thoughts and pen,
Your tears, your rhymes, et cetera?
Introduce me." "You're joking." "Not at all."
"Gladly." "When?" "Why, now, if you have leisure.
They'll always smile and welcome us with pleasure."




III
"Let's go then." -
They set off rapidly,
And soon at the Larin's are ensconced.
The attentiveness at times was wearying
Of the old fashioned hospitality.
Of well known treats a plethora:
Preserves on dishes are brought in,
On a polished table then is placed
A jug with cranberry water in
. . . . . .
. . . . . .






Source:  Text  and  Image:  Online