خامش

ما سمیعیم و بصیریم و خوشیم

  با شما نامحرمان ما خامشیم

MUSEE DES BEAUX ARTS

 About suffering they were never wrong,

The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

W.H. Auden

Faustian Echoes

 [Faust:] "So, still I seek the force, the reason governing life's flow, and not just its external show."

[Mephistopheles:] "The governing force? The reason? Some things cannot be known; they are beyond your reach even when shown."
[Faust:] "Why should that be so?"
[Mephistopheles:] "They lie outside the boundaries that words can address; and man can only grasp those thoughts which language can express."
[Faust:] "What? Do you mean that words are greater yet than man?"
[Mephistopheles:] "Indeed they are."
[Faust:] "Then what of longing? Affection, pain or grief? I can't describe these, yet I know they are in my breast. What are they?""
[Mephistopheles:] "Without substance, as mist is."
[Faust:] "In that case man is only air as well!"

Excerped from "Faustian Echoes" by Agalloch

Cathedral of Learning

 1/5/22

A Wonderful Day at Carnegie Museum

 

1/8/22

جنگِ کودکان

این ابیات که از دفتر اول مثنوی معنوی انتخاب شده اند ،‌چه قدر مرتبط با عصر ماو مسایلِ زمانه ی ما هستند 



خلق اطفال‌‌اند جز مست خدا ** نیست بالغ جز رهیده از هوا 

گفت دنیا لعب و لهو است و شما ** کودکید و راست فرماید خدا

از لعب بیرون نرفتی کودکی ** بی‌‌ذکات روح کی باشد ذکی‌‌

چون جماع طفل دان این شهوتی ** که همی‌‌رانند اینجا ای فتی‌‌

آن جماع طفل چه بود بازیی ** با جماع رستمی و غازیی‌‌








جنگ خلقان همچو جنگ کودکان ** جمله بی‌‌معنی و بی‌‌مغز و مهان‌‌ 

جمله با شمشیر چوبین جنگشان ** جمله در لاینفعی آهنگشان‌‌

جمله‌‌شان گشته سواره بر نیی ** کاین براق ماست یا دلدل پیی‌‌

حامل‌‌اند و خود ز جهل افراشته ** راکب و محمول ره پنداشته‌‌

باش تا روزی که محمولان حق ** اسب تازان بگذرند از نه طبق‌‌

Last Hours of 2021

 

“But if a wicked man turns from all his sins which he has committed, keeps all My statutes, and does what is lawful and right, he shall surely live; he shall not die. None of the transgressions which he has committed shall be remembered against him; because of the righteousness which he has done, he shall live. 

Ezekiel 18:21-22

Erich Ohser: The Burden of Art

This is the sad story of a pioneer, light years ahead of the contemporary trend.

Erich Ohser (aka E.O. Plauen) was born in 1903 in Adorf,  small outlaying in Vogtland.  During a short professional career, he worked for magazines such as Vorwärts (=Forward), illustrating satirical representations of Joseph Goebbels and Adolf Hitler. Obviously, these endeavors earned him the enmity of the Nazis, and he was prohibited from practicing his trade under an order of professional disqualification (=Berufsverbot). He continued to work under pseudonyms, and from 1940, began again to produce cartoons on political themes. He was arrested on charges of expressing anti-Nazi opinions (reichsfeindliche Äußerungen). Sadly, Ohser committed suicide in jail 24 hours before his trial.

I accidentally discovered some of his comic strips dating back to the 1930s. His art has been an intriguing subject for me. Elements of his political orientation were interwoven into his modern aesthetic flavor. His satirical caricatures or cartoons, frequently accompanied by Erich Knauf's articles, expressed his political stance against National Socialism. The interesting aspect is how an artist channels ideas under a rigid censorship regime. The notorious Father and Son series is probably the most popular work by Ohser that captivated readers between 1934 to 1937. The adventures of the funnily depicted duo gave the artist a veiled platform to express his views.

Pedram, 12/16/2021