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ynx1 · 1 year

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Ten Types of Modesty حیا

Ibn-ul Qayyim (raḥimahullāh) mentioned in his book Madarij us Saalikeen Vol. 2 Pg. 267 “Al Hayaa’ (i.e. modesty) is categorized into ten types:

1. The modesty of Shame: This is similar to the modesty of Adam (Alaihis salam) when he fled in paradise after eating from the forbidden tree. Allah asked him “Are you fleeing form me O Adam because of your sin?” He said: “No my lord! Rather it is out of shame that I flee from you!”

2. The modesty that results in you realizing your shortcomings such as; the modesty of the angels, those who praise Allah day and night and never enervate. On the Day of Judgment they will say Subhanaka! (i.e. Glory be to You!) we did not worship You as You deserved to be worshiped.”

3. The modesty of Magnification: This modesty is a result of knowledge. The extent of knowledge the slave has of his Lord, will determine how modest or shy of Him he/she is.

4. The modesty of Generosity: This is similar to the modesty of the Prophet (Sallahu alaihi wa salam) with those people he invited to the walimah (i.e. marriage banquet) of Zaynab Bint Jahsh (Radiyallahu anha)and they stayed with him longer than necessary, so he stood up and walked away without saying to them “Leave!”.

5. The modesty of Embarrassment: This is similar to the modesty of Ali Ibn Talib (Radiyallahu anhu)when he was too embarrassed to ask the Prophet himself about the pre-seminal discharge he was experiencing, because he was married to his daughter.

6. The modesty of Low self-worth: This is similar to the modesty of the slave in front of his lord when he asks Him for his needs, knowing that he doesn’t deserve it. In a narration of Bani Israel Musa (Alaihis salam) said: “O lord, a need or desire of this life arises and I am too modest to ask You for it O lord!” So Allah responded to him by saying: “Ask me for what whatever you like, whether it is the salt for your dough or the fodder for your herd!” And it is possible that this is because of two things:

7. The modesty of Love: This is the modesty of the one who loves another, and when he thinks in his heart of the one he loves during his absence, his modesty for him is greater than what he feels for him in his presence and he doesn’t even know why. There is no doubt that the love of a person has a stronger and more magnificent authority over the individual than the authority of the one who conquers the body physically. And because of this, kings and elite authority wonder in amazement about creation and how they are conquered because of the love they have for someone greater than they are conquered by power and physical authority. We asked Sheikh ul Islam Ibn Taymiyah (Rahimahullah) about this issue, and I mentioned this to him and he just smiled and didn’t say anything.

8. The modesty of Servitude: This is the type of modesty that is mixed with love and fear while witnessing that there is no perfection in his worship or servitude to the One he worships. And the slave acknowledges that his Lord is greater and more opulent than what he is offering of worship, so his servitude to Allah causes him to be modest of Him, and there is no way around this.

9. The modesty of honor and dignity: The modesty of the noble and prestigious soul. if he does something that is beneath his caliber, either by exerting himself or doing some random act of good, he is modest despite what he has exerted of himself with a type of modesty that is honorable and dignified, and there are two reasons for this:

10. The modesty of an individual regarding himself: This is the modesty of the noble, honorable and dignified individual due to him being pleased with the fact that he has some shortcomings. He prostrates himself out of modesty as if he has two personalities. He is modest with one regarding the other and this is the most complete form of modesty. If the slave is modest regarding himself then he is more likely to be modest in front of others

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fxxckinjapanesetranceblog · 25 days

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アルバムVII Vol. 1をリリース！

UKトランスレコードレーベルVIIから、DJ MAG"Top 100 DJs"の常連でもある人気DJ、John Askew がホストを務めるMIXシリーズ最新作が登場! John O’Callaghan に才能を見出され、A STATE OF TRANCEやSubculture から作品を発表し、"Zion"や"Roof Removal Service"といったフロアヒットを放っている才人・Will Atkinson の人気MIX シリーズ「 VII Vol. 1 」がリニューアルし、UKトランス名門VIIよりリリース!これまでは単独でのミックスでしたが、本作でWill Atkisnon 以外に2名のDJを抜擢! DISC 2は、UK出身でCREAMやSLINKYといったビッグクラブでプレイするベテラン・JOHN ASKEW、DISC 3ではALY & FILAのレーベルFSOE RECORDINGSを中心に活躍し人気急上昇中のSimon Pattersonが担当、 DISC 4では Sean Tyasが担当どのディスクもこれぞ王道トランスと言うべき突き抜けるような高揚感と美麗なメロディーに満ちた至高のミックスです!

Simon Patterson の Opulence をリリースしました。

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UCast の Quadra をリリースしました。

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Amos & Riot Night の Out At Sea をリリース。

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Brian Flinn の Animate The Enemy をリリース。

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carterkeller1234 · 2 months

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Late Post 2/28/24 Phoenix Vol.4 and Kojiki

I may be late to this but was intrigued enough by Phoenix to make this post anyways, where it retells the story of Yamato the Brave with the obvious twist of the Phoenix, or the bird of fire, as it more commonly described in the work. We follow the story of Oguna, the youngest son of the King of Yamato, a cowardly king who wishes nothing more than to build a massive tomb with accompanying sacrifices. Oguna contrasts his father by not wishing for innocent life to be taken all for the fruitless quest of legacy, commenting on an interesting dichotomy of the two characters in how one can handle death. The King of Yamato meets his death fearful and regretful when his tomb is not as opulent as he had wished, with his last words even being "The only cure for fools is death." These parting words reflect his wasted life and the inevitable failure that working towards an unbreakable legacy will bring, as it only results in a hollow life not worthy of remembrance. Oguna's story closely follows the story of Yamato the Brave, with him sharing the same intelligence, fighting capabilities, and musical talents that the story are so entrenched in. However, Oguna in Phoenix is much more candid with his own thoughts and beliefs on the ongoings of the work, and there's a more clearly defined love interest with Kajika, that becomes even more sorrowful with their tragic demise. This is in stark contrast with Yamato's story of exploits and conquering to label the many names of Japan, serving as a folklore tale. In short, Oguna's story in Phoenix is not to conquer or to build a lasting legacy, but simply use the finite time one is given to live a fulfilling life despite its brevity, echoing the sentiments of the sage old man that taught him in Kumaso.

I just thought this opening gag was memorable enough to share

The happy death that Oguna was led to that his father was too blind to understand.

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textileinfomedia · 4 months

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Top most selling designer sarees catalog

Sarees are one of the most adorable ethnic wear in India. We are representing here some of latest sarees catalogs which are top most selling catalogs. We at Textile infomedia provide high quality designer sarees and catalog sarees manufacturers and wholesalers from all over India. Check latest and top selling catalogs.

1. Jhankar by Triveni Saree

Triveni Saree launched unique collection of fancy Sarees. Jhankar full set has 12 beautiful designs. Its a Saree with Georgette Fabric and Heavy Embroiderey. It has Different and Beautiful Designs On It. Jhankar has Banglori silk Blouse Piece with Net Embroidered Sleeves.

2. Royal Bandhej by Shangrila Saree

Shangrila Saree is one of the trusted name for unique collection of Traditional Saree manufacturers and wholesalers. Royal Bandhej full set has 12 beautiful designs. Its a Saree with Georgette Fabric with different colours and beautiful designs on it. It has Embroiedered Border. Royal Bandhej has Georgette Blouse piece.**Note : The First Wash Of The Saree Should Be Dry Clean Only.

3. Pavitraa Sarees by Sahiba

Sahiba sarees is one of the most trusted brand for brasso sarees manufacturers and wholesalers in Surat. They launched unique collection of Beautiful Sarees catalog name Pavitraa. Pavitra Vol-17 full set has 12 beautiful designs. It has Solf Georgette Saree with Bangalori Embroidery Blouse Piece. They are manufacturers and wholesalers of Blouses and provide their best quality blouses to textile markets in India. Pavitra Vol-17 catalogue has beutiful and different designs in each saree.

4. Star Walk Glamour By Vinay Fashion

Vinay Fashion has vast range of all type of sarees in Surat. Vinay Fashion is leading name for Surat Wholesale sarees, dress and kurtis inTextile Market. They launched unique collection of Beautiful Fashionable Sarees for ladies. Star Walk Glamour full set has 10 beautiful designs. It has Georgette Saree with Bangalori Embroidery Blouse Piece. Star Walk Glamour catalogue has beautiful and different designs in each saree.

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solisjetflights · 10 months

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Expériences Sur Mesure : Personnalisez Vos Vacances En Jet Privé

En matière de voyages de luxe, les vacances en jet privé offrent un niveau inégalé de personnalisation. L’époque des itinéraires uniques est révolue. Aujourd’hui, les voyageurs ont la possibilité de personnaliser chaque aspect de leur voyage, en veillant à ce que chaque moment soit précisément conçu pour répondre à leurs désirs. De la sélection des destinations à l’élaboration d’expériences uniques, explorons le monde des vacances sur mesure en jet privé pour une escapade ultime.

#1 Concevoir l’itinéraire de vos rêves

Les vacances en jet privé offrent la liberté de concevoir un itinéraire de rêve qui corresponde à vos préférences et à vos aspirations de voyage. Que vous ayez une destination spécifique en tête ou que vous souhaitiez explorer plusieurs endroits, la flexibilité des voyages en jet privé vous permet de créer un itinéraire qui correspond à votre vision. De l’escapade sur une plage tropicale à l’exploration d’une ville culturelle, en passant par l’aventure en pleine nature, les possibilités sont infinies.

#2 Accès exclusif à des destinations éloignées

Les vacances en jet privé vous permettent d’aller au-delà des lieux touristiques habituels et de vous aventurer dans des destinations éloignées et exclusives. Qu’il s’agisse d’une île privée isolée dans les Caraïbes, d’un joyau caché dans les Alpes suisses ou d’une merveille naturelle intacte en Afrique, les charters de jets privés peuvent vous emmener dans des endroits souvent inaccessibles aux vols commerciaux. Faites l’expérience du privilège de découvrir des paradis cachés et des paysages intacts que peu de gens ont l’occasion d’explorer.

#3 hébergements de luxe adaptés à vos goûts

Les vacances en jet privé étendent les options de personnalisation à votre choix d’hébergement. Que vous préfériez les villas luxueuses en bord de mer, les penthouses opulents en ville ou les hôtels de charme intimes, les charters de jets privés peuvent organiser des hébergements qui reflètent votre style unique et vos préférences. Profitez d’équipements de classe mondiale, d’un service personnalisé et de vues à couper le souffle, afin que votre séjour soit aussi mémorable que le voyage lui-même.

#4 Créer des expériences exclusives

La beauté d’un voyage en jet privé sur mesure réside dans la possibilité d’organiser des expériences exclusives et inoubliables. Qu’il s’agisse d’un accès VIP à des sites culturels, de visites privées de musées, d’activités d’aventure exaltantes ou de rencontres dans les coulisses, ces vacances peuvent être enrichies de moments extraordinaires qui sortent de l’ordinaire. Créez des souvenirs qui dureront toute votre vie en personnalisant votre voyage avec des expériences uniques qui correspondent à vos centres d’intérêt.

#5 Délices culinaires et aventures gastronomiques

Les amateurs de cuisine peuvent se laisser tenter par un monde de délices culinaires en personnalisant leurs vacances en jet privé pour y inclure des aventures gastronomiques. Qu’il s’agisse de dîner dans des restaurants étoilés ou d’explorer les marchés locaux et de savourer des saveurs authentiques, ces vacances répondent à vos passions culinaires. Les charters de jets privés peuvent organiser des réservations dans des établissements renommés, des dîners privés dirigés par des chefs et même des expériences immersives autour de la nourriture et du vin en partenariat avec des experts culinaires de premier plan.

#6 Retraites de bien-être et de relaxation

Pour ceux qui cherchent à se ressourcer et à se détendre, les vacances en jet privé peuvent être adaptées pour inclure des retraites de bien-être et des expériences de spa. Des centres de bien-être isolés aux retraites holistiques, vous pouvez vous évader dans des lieux idylliques qui privilégient le bien-être. Laissez-vous tenter par des soins de spa rajeunissants, pratiquez la pleine conscience dans un cadre serein et rechargez votre esprit, votre corps et votre âme tout en étant entouré de tranquillité et de beauté naturelle.

#7 Sport et aventure

Les vacances en jet privé sont idéales pour les amateurs de sport et d’aventure qui recherchent des expériences riches en adrénaline. Qu’il s’agisse d’héliski dans les Alpes suisses, de pêche en haute mer dans les Caraïbes ou d’un safari en Afrique, ces vacances peuvent être personnalisées pour inclure des activités palpitantes qui répondent à votre esprit d’aventure. Les charters de jets privés peuvent organiser l’équipement, les guides et l’accès exclusif pour s’assurer que vos activités sportives sont tout simplement extraordinaires.

1. Immersion culturelle et interactions locales

Des vacances sur mesure en jet privé offrent la possibilité de s’immerger dans la culture locale et de s’engager dans des interactions significatives avec les communautés que vous visitez. Les charters de jets privés peuvent organiser des expériences authentiques telles que la rencontre avec des artisans locaux, la participation à des cérémonies traditionnelles ou l’exploration de sites historiques avec des guides compétents. Ces interactions permettent de mieux comprendre la destination et de créer des liens durables avec la culture locale.

2. Occasions spéciales et célébrations

Les vacances en jet privé sont idéales pour célébrer des occasions spéciales avec style. Qu’il s’agisse d’un anniversaire important, d’un anniversaire de mariage ou d’une escapade romantique, ces vacances peuvent être personnalisées pour créer des moments inoubliables. Les charters de jets privés peuvent organiser des surprises, des célébrations intimes ou même des demandes en mariage uniques dans des lieux à couper le souffle, en veillant à ce que votre occasion spéciale soit marquée du sceau de l’élégance et de l’exclusivité.

3. Aventures en famille

Les vacances en jet privé sur mesure répondent aux besoins et aux préférences des familles qui voyagent ensemble. De l’organisation d’activités et d’hébergements adaptés aux enfants à l’organisation de visites et d’expériences privées pour tous les âges, ces vacances garantissent que chaque membre de la famille puisse profiter du voyage. Les charters de jets privés peuvent également répondre à des exigences diététiques spécifiques, proposer des services de baby-sitting et créer un environnement sûr et confortable propice aux liens familiaux et à l’aventure.

4. Réseautage professionnel et retraites d’affaires

Les vacances en jet privé peuvent être personnalisées pour combiner affaires et loisirs, ce qui les rend idéales pour les réseaux professionnels et les retraites d’affaires. Qu’il s’agisse d’accueillir des réunions dans un cadre luxueux ou d’organiser des activités de renforcement de l’esprit d’équipe dans des lieux exclusifs, ces vacances offrent un environnement unique pour favoriser les contacts, trouver des idées et créer des expériences mémorables qui renforcent les relations professionnelles.

5. Services de conciergerie personnalisés

Les vacances en jet privé s’accompagnent de services de conciergerie personnalisés qui garantissent une gestion sans faille de tous les aspects de votre voyage. De la planification de l’itinéraire à l’organisation du transport, en passant par les réservations de restaurants et l’accès VIP aux événements, votre concierge s’occupe des détails, ce qui vous permet de vous détendre et de profiter pleinement de votre escapade personnalisée.

6. Pratiques environnementales et durables

Les compagnies d’affrètement de jets privés s’engagent de plus en plus à promouvoir la durabilité environnementale. Elles recherchent activement des pratiques et des initiatives respectueuses de l’environnement afin de minimiser leur empreinte carbone. En s’associant à des hébergements durables, en soutenant les efforts de conservation locaux et en proposant des programmes de compensation carbone, les vacances en jet privé peuvent être personnalisées pour s’aligner sur vos valeurs et contribuer à un avenir plus vert.

Les vacances sur mesure en jet privé redéfinissent le voyage de luxe en offrant une personnalisation et une adaptation inégalées. Qu’il s’agisse d’immersion culturelle, de célébrations spéciales, d’aventures en famille ou de réseautage professionnel, ces vacances répondent à divers intérêts et préférences. Avec l’aide de services de conciergerie spécialisés, vous pouvez créer un voyage vraiment unique et inoubliable qui dépasse vos attentes.

Conclusion

Les vacances en jet privé sur mesure sont l’incarnation du luxe et de l’exclusivité. En personnalisant chaque aspect de votre voyage, des destinations aux hébergements, en passant par les expériences et les activités, vous pouvez créer l’escapade ultime qui correspond à vos désirs et à vos aspirations. Les charters de jets privés se distinguent par une flexibilité et une personnalisation inégalées, garantissant que vos vacances sont le reflet de vos goûts et préférences uniques.

#private jet booking #private jet charter #private yatch #aviation #luxury travel #empty leg flight #private jet

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muznew · 2 months

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Nothing But... Fuego for the Terrace, Vol. 18

- Artists: Ludwig Armstrong, Nicolas Barnes, AnToN KuRT, Oshibka.404, TACTIVE, Yugo Sanchez, Sohz, Rush B, Amphibia, Albert Lopez, Matthew Fenton, Nycto, El Monk, DIGBAKER, Zayah, The Oddest Prime, PMS, Rapa, Igor Zanga, LWRNCE & CONNMAC, Bryan Cox, Stanny Abram, Flaker, Dean Allen, Prime Punk, Nightshift (UK), Opul DATE CREATED: 2024-03-11 Label: Nothing But Tracklist : 1. Ludwig Armstrong - Constanza(Alex Raider, Fabula Fusion Extended) 2. Nicolas Barnes - Surpass(Original Mix) 3. AnToN KuRT - The Pit(Original Mix) 4. Oshibka.404 - Untitled001(Original Mix) 5. TACTIVE - Energía(Original Mix) 6. Yugo Sanchez - Dominic(Radio Edit) 7. Sohz - Rock It(Bizen Lopez Remix) 8. Rush B - Afterparty(Radio Edit) 9. Amphibia - Depths(Original Mix) 10. Albert Lopez - Through The Window(Original Mix) 11. Matthew Fenton - Jack In The Vox(Original Mix) 12. Nycto, El Monk - Volumen(Original Mix) 13. DIGBAKER, Zayah - Listen Me(Original Mix) 14. The Oddest Prime - Vendetta(Odi Read the full article

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djmusicbest · 2 months

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Nothing But... Fuego for the Terrace, Vol. 18

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omar-rudeberg · 3 years

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the music of young royals, vols. 1-17

This post highlights is the music of young royals, volumes 1-17, lovingly birthed by @starsabovetheunderground (and shared here with express permission). These are separate close analyses of the young royals soundtrack, encapsulating close character studies, audio aesthetics, lyric interpretations, and how each of the songs are simultaenously informed by and drive forward the narrative within which they occur. Each contains exceptional meta-analysis, delicately nuanced and summarised in a piece of gorgeously evocative prose.

I have listed each post below with a favourite moment lifted from the text (none of the quotes are mine). Share this post if you’re called to, but most importantly, please click through to read and like / reblog / reply to / share the original work!

«« »»

the music of young royals

vol. 1 | bad - farveblind, killason

we are being pulled into the underground and the world of young royals with a mission to escape.

vol. 2 | wannabe ghetto - fata boom

battling the beat is the revving engine of erik's sports car.

vol. 3 | it takes a fool to remain sane - omar rudberg

acknowledging just how difficult this must be for wilhelm ... telling him, in fact, going crazy is the only response that makes sense.

vol. 4 | i see you - nadia tehran

to be a public figure like a royal is to be living in a fishbowl (or, using the metaphor from young royals, a frog prince snow globe) and exposed for viewing at all angles.

vol. 5 | blah blah blah - armin van buuren

once again we’re pulled into the underground, but this time the mission is not to escape. this time the mission is to survive...

vol. 6 | hands up high - adele roberts, jacob blair, gabriella chering, charlie tenku

if simon's voice is the powerful melody that comes through clear over the noise then these lyrics are a sign for wilhelm to keep turning up the dial.

vol. 7 | no tomorrow - ty frankel, stephane lo jacomo, myariah summers

but the songs of the second episode belong to felice ... can be read as an expression of the expectations for felice to get wilhelm’s attention and perhaps one day become a princess.

vol. 8 | alpha - yung titties

there is still an opulent confidence that accompanies the power of money. that money begets cultural capital begets more money.

vol. 9 | come to play - andrey tatarinov, ty frankel, nathan bodiker

wilhelm must decide if he wants to make a break for it with simon or surrender all hopes of escape resigned to his gilded cage.

vol. 10 | äter upp dig - maxida märak

for what is supposed to be a moment of happy family reunions, there is a lot of unspoken tension just below the surface.

vol. 11 | holes - zhala, deep throat choir

...that state of isolation wilhelm is frozen in. the wind blows through his life, but the breeze echoes off the canyon walls freshly carved by the loss of the solid foundation from erik's presence that was once there.

vol. 12 | remember - omar rudberg

this song has a fascinating dual meaning of being both a memorial and a ballad. the remembrance is for erik, but being written into history is for wilhelm.

vol. 13 | revolution - elias, no. 1

there's the beauty of their love returning to the surface, but it still means setting a fire and feeling the heat as it burns.

vol. 13 | revolution - elias, no. 2

young royals uses beauty and love as a way to enter a revolutionary consciousness, where wilhelm and simon's connection becomes a way to push out of the past and into the future.

vol. 14 | live and die - gina dirawi

all that [wilhelm] has left is worship at the altar of the only god he has found: the love he feels for simon. ((not that I’m picking favourites, but if you’re going to read just one? for goodness sakes let it be this one - Lili x))

vol. 15 | sunday - gina dirawi

wilhelm is being cast down not only for refusing to kneel to the crown, but for kneeling in love before simon. ((...and this one - Lili x))

vol. 16 | impatient - duvchi

the meaning is to be impatient, but the way the song echoes the ending of the word as “patient” doubly communicates the opposite. this patience vs. impatience manifests immediately ... it’s wilhelm's impatience against simon's patience.

vol. 17 | samurai swords (acoustic) - highasakite

this song is the lone one that belongs to august. he wants to inflict as much damage on wilhelm as immediately as he can, even if that means burning the bridge. even if it means burning the palace.

#young royals #theyoungroyalsrevolution #starsabovetheunderground #young royals analysis #young royals music #fata boom #omar rudberg #nadia tehran #zhala #elias #gina dirawi #duvchi #highasakite #(this writing is everything I'm trying to achieve with my analysis but I'm continually foiled by run-on sentences and no clear through-line #(also if you have ideas of work for me to feature - or if you have a series/creation you would be happy with me sharing let me know!)#music #analysis #oh my that's rude(berg)#mine

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wellntruly · 2 years

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So to follow up, since I didn't even get a check there as that was JUST one chapter, (lordy la), the rest of Vol. III, Book 4, which begins in this manner exactly:

“On a certain afternoon, which had, as will be seen hereafter, some coincidence with the events heretofore related, Laigle de Meaux was to be seen leaning in a sensual manner against the doorpost of the Café Musain. He had the air of a caryatid on vacation.”

Well, we’re off to the fucking races.

The thing is, you cannot blame anyone. No one can be held at fault for this! These young men show up and are promptly SO funny and delightful and myriad, no one can be blamed, no one! With this stuff??:

“‘It is to you that I am indebted for it, Monsieur Pontmercy. I intend to pay a solemn call of thanks upon you. Where do you live?’ ‘In this cab,’ said Marius. ‘A sign of opulence,’ retorted Laigle calmly. ‘I congratulate you. You have there a rent of nine thousand francs per annum.’ At that moment, Courfeyrac emerged from the café. Marius smiled sadly. ‘I have paid this rent for the last two hours, and I aspire to get rid of it; but there is a sort of history attached to it, and I don’t know where to go.’ ‘Come to my place, Sir,’ said Courfeyrac. ‘I have the priority,’ observed Laigle, ‘but I have no home.’”

You cannot blame them!

“Marius, up to that time solitary and inclined to soliloquy, and to asides, both by habit and by taste, was a little fluttered by this covey of young men around him.”

You cannot!

“Bossuet, extending his hand toward him, tried to impose silence on him, and Grantaire began again worse than ever, ‘Aigle de Meaux, down with your paws. You produce on me no effect with your gesture of Hippocrates refusing Arteraxes’ bric-a-brac. I excuse you from the task of soothing me.’”

You can blame no oooonee!

Oh also something occurred to me here, I had an Occurrence of Thought, that I just need to like, Express…. okay here we go let me know what you think:

Listen here’s even a development into narrative: Consider: partly Grantaire is Like That because he’s been dying at the barricades hundreds of times in a row. Ho ho it is very funny I generally care for AUs not and yet: I require the Grand R-ussian Doll AU

Meanwhile, across this roomful of waistcoats, Combeferre is weakly trying to defend the new charter, already knowing he’s lost, while Courfeyrac just flashily chatters it down, and, defenseless to drama, unstraightly tosses it straight into the fire. The energy of those two together by the way, and I’ve actually had this particular connection all this past nine, to the point of a certain overlay:

This is going to be a fairly niche reference but holler if you know. (..please.)

Miscellany

Grantaire was a pupil of Antoine-Jean GROS???! Get out!

Marius pulling the most goober manueve anyone here has ever seen actually honestly kind of breathtaking. When he just walks up to the map and goes: “Corsica”—the size of foreboding that takes over one. I am eating the popped corn.

“Bahorel, replying to Bossuet, was just assuming an attitude of the torso to which he was addicted. He gave it up to listen.”

Book 20 (at last) /48, ✓

Also: Brumaire reference!!!! Check check check!!!

[Brickolage]

#Les Mis 2 More Mis #Brickolage #Victor Hugo #Les Miserables #should I be tagging too all these references I keep making #am I going to keep doing this #so many questions

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i-asifeq · 3 years

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Ten Types of Modesty حیا

Ibn-ul Qayyim (raḥimahullāh) mentioned in his book Madarij us Saalikeen Vol. 2 Pg. 267 “Al Hayaa’ (i.e. modesty) is categorized into ten types:

3. The modesty of Magnification: This modesty is a result of knowledge. The extent of knowledge the slave has of his Lord, will determine how modest or shy of Him he/she is.

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maudanouk · 3 years

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NEW FACE OF LANNY IN VIENNA

ACT I SCENE I

Italy, Rome, the Vatican reception hall. VOIELLO and SOFIA are waiting at the popes desk. The YOUNG POPE enters the stage with a plain plate in his hands.

„This is the sort of merchandise im prepared to authorise.“ He says.

„But it doesn’t have your image on it!“ Sofia answers.

„I do not have an image, my good lady, because I am no one. You understand? No one. Only Christ exists. Only Christ. And I am not worth forty-five, or even five euros. I am worth nothing.“

„I don’t understand, Holy Father.“

„Of Course you don’t, because, as you said earlier, you studied at Harvard. And Harvard is a place in decline where you were taught to lower yourselves. Where as here, in the Vatican, we try to elevate ourselves. Who exactly is in charge of curating the image of the pope?“

„The Secretary of State entrusted that delicate task to me, Holy Father, two years ago.“

„Very good. And now I’m going to tell you what you as curator of the image of the Holy Father, are gonna do. You are gonna fire the Vatican’s official photographer immediately. No photographs of the pope are to be issued. Just as there were none when I was a cardinal or a bishop. Do you know why? I never allowed my picture to be taken. And when someone managed to sneak a photograph of me I always bought them up before they could be published. Now that I think about it. I’ve been training my whole life to be an invisible pope.

And so, for my first adress, you will see to it that the lightning is so dim, no photographer, no TV cameraman, and not even the faithful will see anything of me but a dark shadow, my silhouette. They will not see me because I do not exist.“

„If I may, Holy Father, what you are proposing is nothing short of suicide, media suicide.“

„Media suicide, you say? Fine. Now try to keep up with me, if you can.“

„I’m right with you, Holy Father.“

„Good. OK, so, who is the most important author of the last twenty years? Careful now, not the best, virtuosity is for the arrogant, the most important, the author who has sparked so much morbid curiosity that he became the most important.“

„I wouldn’t know. I’d say… Philip Roth?“

„No. Salinger. The most important film director?“

„Spielberg.“

„No. Kubrick. Contemporary artist?“

„Jeff Koons. Or Marina Abramovic.“

„Banksy. Electronic music group?“

„I don’t know the first thing about electronic music.”

“You say Harvard is a good university! Anyway, Daft Punk!”

„The best Italian Vocalist?“ Voiello interrupts.

„Mina?“ I answer.

„Brava! Now do you know what it is what the invisible red thread is that connects them all, all these most important figures in their respective fields? None of them let themselves be seen. None of them let themselves be photographed.“ The pope answers.

„But you’re not an artist, Holy Father. You are a head of state.“

„Yes, of a city state so small that it doesn’t have an outlet to the sea. And in order to survive it’s leader has to make himself as unreachable as a rock star. The Vatican survives thanks to the hyperbole. So we, we shall generate hyperbole but this time in reverse.“

„I’m beginning to get your point, Holy father. Yes, not only am I beginning to get it. I’m beginning to like it, too.“

„Good. Very good.“ [1]

ACT I SCENE II

The Off. It’s dark. Only the NARRATORS voice can be heard.

The pope [...] was possessed by a veritable rage for acquiring and storing up knowledge.[2] Wanting to know is an offspring of the desire for power, the striving for expansion, existence, sexuality, pleasure, enjoyment of the self, and for anesthetizing the necessity of dying.[3] He is large minded, not through knowledge, but through the power of acquiring it; he is open minded, intelligent, ready for anything, and, as Montaigne says, capable of learning if not learned. [4] As knowledge and will are attributed to God, so is power. Further, as the power of God is infinite, so is His knowledge.[5] The young pope is searching for a way to acquire as much knowledge as possible. He thinks about buying Alphabet. In the end, more than in God it is necessary to believe in yourself, Lenny.

God does not shout.

God does not whisper.

God does not write.

God does not hear.

God does not chat.

God's infinite silence...[5]

What if god shouted, whispered, wrote, heard, chatted and broke his silence? What if god had Instagram.

ACT II SCENE I

Austria, Vienna, 3rd district at Parkgasse 18. The WITTGENSTEIN HOUSE enters the stage, surrounded by its garden and neighbourhood.

The house is thinking: How can I help Lanny to reach the eartheners? I need to understand them. But as I cannot move they have to come to me. I need to offer them something they desire so they can not resist. They are the bees and I’m the honey.

I remember a story an old friend once told me: “There was once a young man who dreamed of reducing the world to pure logic. Because he was a very clever young man, he actually managed to do it. When he’d finished his work, he stood back and admired it. It was beautiful. a world purged of imperfection and indeterminacy, countless acres of gleaming ice stretch into the horizon. So the clever young man looked around the world he’d created and decided to explore it. He took one step forward and fell flat on his back. you see, he’d forgotten about friction. The ice was smooth and level and stainless. But you couldn’t walk there. So the clever young man sat down and wept bitter tears. But as he grew into a wise old man, he came to understand that roughness and ambiguity aren’t imperfections, they’re what make the world turn. He wanted to run and dance. And the words and things scattered upon the ground were all battered and tarnished and ambiguous. The wise old man saw that that was the way things were. But something in him was still homesick for the ice, where everything was radiant and absolute and relentless. Though he had come to like the idea of the rough ground, he couldn’t bring himself to live there. So now he was marooned between earth and ice, at home in neighter.” [6]

I am a contradiction. [7]

A nightclub and a spa,

sin and salvation,

extasy, excess, gambling and baptism,

doubt and hope,

mystery and logic,

ornamented and functional,

hell and heaven,

baroque and modern,

I am dionysos and apollon.

ACT II SCENE II

Austria, Vienna, 1st district. AVA sitting at a desk.

The phone rings. [8] She opens the message.. „My dearest friends there’s one spectacular party in the making! Join us tonight in the Wittgenstein House to another legendary night. Make sure to wear your most luxurious textiles and we take care of your deepest desires.“

ACT II SCENE III

Austria, Vienna, 3rd district at Parkgasse 18. It’s night but the garden is enlightened by the colourful lights emerging the windows. The WITTGENSTEIN HOUSE is emitting visual, audible and perceptible vibrations. The air smells of Un Jardin en Méditerranée. A car enters stage right. Inside are AVA, LUX, EMMA and NOVA.

We arrive at the Wittgenstein House. It’s one o’clock, time for some ecstasy. I divide the crystals into four parts and hand them to the others. I take the last one and we step out of our taxi. Instantly we are surrounded by an electric atmosphere. People get chauffeured around in Mercedes Benz with Cristal champagne.[9] On inspecting the entrance facade, you can discover a series of metaphors and symbolic signs.[10] The bass seems to shake the walls. Bright lights in countless colours emerge through the windows. Life is fantastic. It would be too strong to call this fantasy a portal to Hell, but it is surely no entrance to a Heavenly Jerusalem.

The party begins as people are moving in, gathering in the entrance hall and taking a stand up cocktail.[11] There is champagne, caviar and fireworks.[12] Ahead, some distance from the entrance, is a great mural of brilliant color.[13] Opulent Ornaments, heavy textiles, reflecting surfaces. The materials come from the everyday domestic sphere, much having to do with ornamenting the body: copper and brass wire, buttons, beads, baubles, hooks, eyes, straps, false fingernails, makeup, hair, ribbons, lace, thread, shells, feathers, and bones. The amulets are fetishes, beautiful ornamental objects, and they are connected to the fetishism of architectural representation.[14]

following... experience of other chambers:

sauna is heat, sweat, cleansing, liberation, relief

spa is warm, soft, welcoming, salvation

etc.

[1] The Young Pope

[2] Hugo, Notre Dame de Paris

[3] Sloterdijk, Critique of Cynical Reason

[4] Rousseau, Collected Works of Jean-Jacques Rousseau

[5] Aquinas, Summa Theologica

[6] The Young Pope

[7] The Young Pope

[8] Cixous, Reveries of the Wild Woman

[9] Hovestadt Buehlmann, Quantum City

[10] Hays, Architecture Theory since 1968

[11] Schumacher, The Autopoiesis of Architecture Vol 2

[12] Carter, Anthony Blunt His Lives

[13] Ockmann, Architecture Culture 1943 1968

[14 ]Hays, Architecture Theory since 1968

#maudanouk #text

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ivressesdhier · 5 years

Photo

Virginia Woolf’s numerous & inventive ways of describing Vita Sackville-West in her diaries (The Diary of Virginia Woolf, vol. 2 & 3)

Excerpts from 1922 to 1930, in chronological order:

"I am too muzzy-headed to make out anything. This is partly the result of dining to meet the lovely gifted aristocratic Sackville West last night at Clive's."

"–knows everyone– But could I ever know her?"

"the aristocratic manners is something like the actresses–no false shyness or modesty: a bead dropped into her plate at dinner–given to Clide–asks for liqueur–has her hand on all the ropes–makes me feel virgin, shy, & schoolgirlish."

"She is a grenadier; hard; handsome, manly; inclined to double chin."

"She is a pronounced Sapphist, & may, thinks Ethel Sands, have an eye on me, old though I am. Nature might have sharpened her faculties. Snob as I am, I trace her passions 500 years back, & they become romantic to me, like old yellow wine."

"All these ancestors & centuries, & silver & gold, have bred a perfect body. She is stag like, or race horse like, save for the face, which pouts, & has no very sharp brain. [...] But as a body hers is perfection."

"But its the breeding of Vita's that I took away with me as an impression, carrying her & Knole in my eye as I traveled up with the lower middle classes, through slums."

"Vita was here for Sunday, gliding down the village in her new blue Austin car, which she manages consummately. She was dressed in ringed yellow jersey & large hat, & had a dressing case all full of silver & night gowns wrapped in tissue."

"But I like her being honorable, & she is it; a perfect lady, with all the dash and courage of the aristocracy, & less of its childishness than I expected."

"But she has shed the old verbiage, & come to terms with some sort of glimmer of art; so I think; & indeed, I rather marvel at her skill, & sensibility;"

“Vita, to attempt a return, is like an over ripe grape in features, moustached, pouting, will be a little heavy;"

"meanwhile, she strides on fine legs, in a well cut skirt, & though embarrassing at breakfast, has a manly good sense & simplicity about her which both L. and I find satisfactory. Oh yes, I like her; could tack her on to my equipage for all time;"

"With Vita we discussed the murder of Mr Joshua, Ottoline, literature. Then she took us to Charleston –& how one's world spins round–it looked all very grey & shabby & loosely cut in the light of her presence."

"I like her & being with her, & the splendour–she shines in the grocers shop in Sevenoaks with a candle lit radiance, stalking on legs like beech trees, pink glowing, grape clustered, pearl hung. That is the secret of her glamour, I suppose." [...] There is her maturity & full breastedness [...] her being so much in full sails on the high tides, where I am coasting down backwaters; [...] her capacity I mean to take the floor in any company, to represent her country, to visit Chatsworth, to control silver, servants, chow dogs; her motherhood, her being in short (what I have never been) a real woman. [...] Then there is some voluptuousness about her; the grapes are ripe, & not reflective. No. In brain & insight she is not as highly organised as I am. But then she is aware of this, & so lavishes on me the maternal protection which, for some reason, is what I have always most wished from everyone."

“She is not clever, but abundant & fruitful; truthful too."

"Vita is a dumb letter writer, & I miss her. I miss the glow & the flattery & the festival."

"Her address was read in sad sulky tones like those of a schoolboy; her pendulous rich society face, glowing out under a black hat at the end of the smoky dismal room, looked very ancestral & like a picture under glass in gallery."

"Vita was very opulent, in her brown velvet coat with the baggy pockets, pearl necklace, & slightly furred cheeks. (They are like saviours flannel, of which she picked me a great bunch, in texture) [...] Of its kind this is the best, most representative human life I know: I mean, certain gifts & qualities & good fortunes are here miraculously combined–I liked Harold too."

"Vita very free & easy, always giving me great pleasure to watch, & recalling some image of a ship breasting a sea, nobly, magnificently, with all sails spread, & the gold sunlight on them."

"Thus it has been a free quiet summer: I enjoyed the Eclipse; I enjoyed Long Barn; (where I went twice) I enjoyed sitting with Vita at Kew for 3 or 4 hours under a cloudy sky & dining at the Petit Riche with her [...] she refreshes me, & solaces me;"

"Vita very gallant & wild & tossing her head & taking me to the Zoo & saying she was wild & free & wd. make her money now herself by writing."

"Vita as usual like a lamp or torch in all this petty bourgeoisdom; a tribute to the breeding of the Sackvilles, for without care of her clothes she appears among them <in all the sanity & strength of a well-made body> like a lampost, straight, glowing. None of us have that; or know not how to carry it"

"A queer trait in Vita–her passion for the earnest middle-class intellectual, however drab & dreary." (this tantrum’s about Hilda Matheson)

"Then L. met us, punctually at 4 [...] & we sat on some prickly holly leaves on the heath & talked to Vita about Harold's letter. He says her poems aren't worth publishing. She is very calm & modest, & seems not to mind much–a less touchy poet never was."

"She was very much as usual; striding; silk stockings; shirt & skirt; opulent; easy; absent; talking spaciously & serenely to the Eton tutor, an admirable young man, with straight nose & white teeth who went to bed, or to his room, early, leaving us alone."

“Something happens in my mind. It refuses to go on registering impressions. It shuts itself up. It becomes chrysalis. I lie quite torpid, often with acute physical pain–as last year; only discomfort this. Then suddenly somethings springs. Two nights ago, Vita was here; & when she went, I began to feel the quality of the evening–how it was spring coming: a silver light; mixing with the early lamps; the cabs all rushing through the streets; I had a tremendous sense of life beginning; [...] Well, as I was saying, between these long pauses [...], I felt the spring beginning, & Vita's life so full & flush; & all the doors opening; & this is I believe the moth shaking its wings in me."

"My map of the world lacks rotundity. There is Vita. Yes–She was here the other day, after her Italian tour, with 2 boys; a dusty car, sand-shoes & Florentine candlepieces, novels & so on tumbling about on the seats.”

"The other night, sitting on the floor by my side, Vita suffered considerably from jealousy of Ethel. [...] She praised her, stoutly, but bitterly. She has all the abandonment that I, living in this age of subtlety & reserve, have lost. She claims you; rushes in where I force myself to hold back. [...] When Hugh was here he said casually that he had met Ethel at tea.” [earlier that day at Monk’s House]. “Such agony went through her she could not speak. And I noticed nothing; & in my usual blind way, made my usual mocking joke. This V. took seriously & brought out my letter for me to read."

Pictures from Virginia Woolf’s personal photo album.

#LOVE that you can tell a) when they first fucked #b) when virginia LOST her mind and fell in love with her #virginia woolf #vita sackville-west #vita and virginia #vita & virginia #v&v #imagine having virginia woolf write these things about you UGH

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italianartsociety · 5 years

Text

By: Amy Fredrickson

On May 18, 1610, the prolific artist, engraver, and draftsman Stefano della Bella (1610-1664) was born in Florence. Before his death in his birth city in 1664, he led an eventful life of travel and adventure. Stefano produced a copious amount of etchings, drawings, and prints; and, rather than working from the confines of a studio, the young artist worked en plein air. The outdoors provided him with the ability to observe everyday life to realistically reflect the people as well as the natural topography of the cities of Florence, Rome, and Paris. As he traveled, Stefano carried his sketchbook and etching needle in hand. His etchings portrayed people from all walks of life, from his observations of the working class and impoverished peasants to a glimpse of the opulent Florentine court. During his years in Paris, he saw the city rise as an artistic capital, and he would also bear witness to the economic and political hardships of the time. He even drew etchings from the front lines of the Thirty Years’ War.

To begin, Stefano was born to an artistic family, as his father, Francesco della Bella, was a sculptor in Giambologna’s studio. Sadly, the patriarch died while the artist was a young child. Stefano and his brothers apprenticed in various specialties. One brother became a goldsmith, another a metalsmith, a third a sculptor, and the fourth trained as a painter. Stefano, on the other hand, began training as a goldsmith, and then he began studying painting with the Florentine painter Cesare Dandini. After painting, Stefano began studying with the etcher Remigio Cantagallina, who previously trained the French-born Medici Court artist Jacques Callot. Ultimately, Callot’s work inspired Stefano; however, he set himself apart in his capacity to step away from Callot’s mannerist tendencies and developed his own personal touch through lyrical and graceful etchings.

Unlike Callot, Stefano rarely worked indoors, preferring the city of Florence as his studio. He documented theatrical events, hunting parties, and tournaments, which provide a glimpse in to the lavish life of the late Medici Court. In 1627, at the age of seventeen, Stefano published his first work entitled The Banquet of the Piacevoli. The work details the festive Medici event, and the impressive detail of the etching led to further commissions and Medici patronage. Stefano was listed on Don Lorenzo de’ Medici’s payroll, and he used the stipend to travel to Rome for further his training. He resided in Rome from 1633 to 1639, although he returned to Florence occasionally for events like Ferdinand II’s funeral, as documented through an etching. His walks along the Roman campagna rendered topographic material, and his style became more natural as he studied the Roman countryside and Roman works from the Classical and Renaissance past.

In 1639, Stefano traveled to Paris, where he joined Baron Alessandro del Nero's entourage. At this time, print culture was flourishing in Paris, and he etched plates for François Langlois (then called Ciartres, 1589-1647), Israël Henriet (1590-1661), and Pierre I Mariette (1603-57). In Paris, one of his famous commissions included four sets of instructive cards to teach the young Louis XIV about history, geography, and mythology.

While in France, Stefano also worked for the Cardinals Armand de Richelieu and Jules Mazarin. Richelieu sent Stefano to the battle lines to depict the devastation of the Thirty Years’ War. The city of Paris was also experiencing financial and political turmoil, which created tension and hostility. The Italian born Cardinal Mazarin lost popularity, and hostility was ultimately extended towards all Italians living in Paris.

As a result, Stefano returned to Florence in 1650. From Florence, he continued to send plates and prints to Parisian publishers, and he also remained on the Medici payroll through Prince Mattias de Medici. He undertook the role of teacher and provided drawing lessons to Matthias's nephew Cosimo III, who was Grand Duke Ferdinand II’s son. He would make a final trip to Rome, but he remained a Florentine resident until his death in 1664. Stefano’s etchings are a chronicle of life as seen through the eyes of a seventeenth-century traveling artist, and through his etchings, he shares his observations of the varied and inequitable world.

References:

Massar, Phyllis Dearborn. "A Paris Sketchbook by Stefano Della Bella," Master Drawings 18, no. 3, 1980, pp. 227-294.

Massar, Phyllis D., "Presenting Stefano Della Bella." The Metropolitan Museum of Art Bulletin 27, no. 3, 1968, pp. 159-176.

Viatte, Françoise, “Allegorical and Burlesque Subjects by Stefano della Bella,” Master Drawings, Vol. 15, No. 4 (Winter, 1977), pp. 347-365.