Poem by Nicholas gordon

DREAMS DO COME TRUE


Dreams do come true, but only when
They make it through despair,
Limping into everyday
Transformed beyond repair.
No dream would be a dream if it
Could pass for something real,
Nor would we sail for paradise
Would it its shoals conceal.
So it is with love: the dream
Long longed for, now possessed,
Must be a dream no longer, but
An emperor undressed.
Stark naked it must come to us
In unaccustomed shame,
And we must take it in our arms
And love it all the same.
And we must love love as it is
That dreams might still come true,
Mangled into miracles
To make our lives anew.

Poem by Nicholas...

AFTER LOVE AND FEAR,
THERE’S PRIDE



After love and fear, there’s pride;
After tears, the night;
After all the words are gone,
A chair with just one light.
After memories, the dream
That you will come home safe;
After sleep, another day
Of waiting for my life.
After hope, the happiness
Of thinking of your love;
After moments of despair
A stone no thought can move.
After all the sacrifice,
The hunger and the pain,
The passions and the promises,
The losses and the gains,
There’s nothing but my love for you,
Which waits upon the wind
To bring you from the barricades
That now you must defend. 

Tabla

The tabla  is a membranophonepercussion instrument originating from the Indian subcontinent, consisting of a pair of drums, used in traditional, classical, popular and folk music.[1] It has been a particularly important instrument in Hindustani classical music since the 18th century, and remains in use in India, Pakistan, Afghanistan, Nepal, Bangladesh, and Sri Lanka.[2] The name tablalikely comes from tabl, the Persian and Arabic word for drum.[3] However, the ultimate origin of the musical instrument is contested by scholars, some tracing it to West Asia, others tracing it to the evolution of indigenous musical instruments of the Indian subcontinent.[4]
The tabla consists of two single headed, barrel shaped small drums of slightly different size and shapes: daya also called dahinameaning right, and baya also called bahinameaning left.[2][5] The daya tabla is played by the musician's right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The baya tabla is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. Each is made of hollowed out wood or clay or brass, the daya drum laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membrane. The daya is tuned to the ground note of the raga called Sa (tonicin Western music).[2][6] The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses his hand's heel pressure to change the pitch and tone colour of each drum during a performance.[2][6]


The playing technique is complex and involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds and rhythms, reflected in mnemonic syllables (bol). In the Hindustani style tabla is played in two ways: band bol and khula bol. In the sense of classical music it is termed "tali" and "khali". It is one of the main qawali instrument used by Sufi musicians of Bangladesh, Pakistan and India.[7] The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing.[8][9]

Origins
The history of tabla is unclear, and there are multiple theories regarding its origins.[4][10]There are two groups of theories, one that traces its origins to Muslim and Moghul invaders of the Indian subcontinent, the other traces it to indigenous origins.[4] However carvings in Bhaje caves provide a concrete evidence of Indian origins of Tabla.[11][12]

Turk-Arab origins

The first theory, very common during the colonial period scholarship, is based on the etymological links of the word tabla to Arabic word tabl which means "drum". Beyond the root of the word, this proposal points to the abundant documentary evidence that the Muslim armies, as they invaded the Indian subcontinent, had hundreds of soldiers on camels and horses carrying paired drums. They would beat these drums to scare the residents, the non-Muslim armies, their elephants and chariots, that they intended to attack. Babur, the Turk founder of the Mughal Empire, is known to have used these paired drums carrying battalions in their military campaigns. However, this theory has had the flaw that the war drums did not look or sound anything like tabla, they were large paired drums and were called naqqara (noise, chaos makers).[4]
The second version of the Arab theory is that Amir Khusraw, a musician patronized by Sultan Alauddin Khalji invented the tabla when he cut an Awaj drum, which used to be hourglass shaped. This is, however, unlikely, as no painting or sculpture or document dated to his period supports it with evidence. If tablahad arrived, or had been invented under Arabic influence from the root word tabl, it would be in the list of musical instruments that were written down by Muslim historians, but such evidence is also absent. For

Mridangam

The Mridangam is a percussion instrumentfrom India of ancient origin. It is the primary rhythmic accompaniment in a Carnatic musicensemble, and in Dhrupad, where it is known as Pakhawaj.
During a percussion ensemble, the mridangam is often accompanied by the ghatam, kanjira, and morsing.


Etymology
In Tamil culture, it is called a tannumai.The earliest mention of the mridangam in Tamil literature is found perhaps in the Sangam literature where the instrument is known as 'tannumai'. The word "Mridangam" is Sandhior union of the two Sanskrit words mŗt (clay or earth) and anga (limb), as early Mridangam were made of hardened clay.


History
In ancient Hindu sculpture, painting, and mythology, the mridangam is often depicted as the instrument of choice for a number of deities including Ganesha (the remover of obstacles) and Nandi, who is the vehicle and follower of Shiva. Nandi is said to have played the mridangam during Shiva's primordial tandava dance, causing a divine rhythm to resound across the heavens. The mridangam is thus also known as "Deva Vaadyam," or "Divine Instrument".
Over the years, the mridangam evolved to be made of different kinds of wood due to its increased durability, and today, its body is constructed from wood of the jackfruit tree. It is widely believed that the tabla, the mridangam's Hindustani musical counterpart, was first constructed by splitting a mridangam in half. With the development of the mridangam came the tala (rhythm) system.
Mridangam has a large role in Newa music. One of the earliest Nepal Bhasa manuscripts on music is a treatise on this instrument called Mridanga anukaranam.[1] The importance of a beating has changed over the years. In the old days, percussionists only used to accompany the lead player like the vocalist but this time their development is not restricted to accompaniment only but also to play one instrument shows.

Tamil culture

In Tamil culture, it is called a tannumai.[2] The earliest mention of the mridangam in Tamil literature is found perhaps in the Sangam literature where the instrument is known as 'tannumai'. In later works like the Silappadikaram also we find detailed references to it as in the Natyasastra.[3] During the Sangam period, it was one of the principal percussion instruments to sound the beginning of war along with murasu (முரசு), tudi (துடி) and parai (பறை) because it was believed that its holy sound will deflect enemy arrows and protect the King.[4] During the post-Sangam period, as mentioned in the epic Silappadikaram (சிலப்பதிகாரம்), it formed a part of the antarakoṭṭu(அந்தரக்கொட்டு)[5][6] - a musical ensemble at the beginning of dramatic performances that would later develop into Bharathanatyam.[7] The player of this instrument held the title tannumai aruntozhil mutalvan (தண்ணுமை அருந்தொழில் முதல்வன்).[8]
ConstructionEdit
The mridangam is a double-sided drum whose body is usually made using a hollowed piece of jackfruit wood about an inch thick. The two mouths or apertures of the drum are covered with a goatskin and laced to each other with leather straps around the circumference of the drum. These straps are put into a state of high tension to stretch out the circular membranes on either side of the hull, allowing them to resonate when struck. These two membranes are dissimilar in width to allow for the production of both bass and treble sounds from the same drum.
The bass aperture is known as the thoppi or eda bhaaga and the smaller aperture is known as the valanthalai or bala bhaaga. The smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds. The goat skin covering the smaller aperture is anointed in the center with a black disk made of rice flour, ferric oxide powder and starch. This black tuning paste is known as the satham or karanai and gives the mridangam its distinct metallic timbre.
The combination of two inhomogeneous circular membranes 

Nadaswara music instrument

The nadhaswaram, nagaswaram, nadhaswaram or nathaswaram is a double reed wind instrument. It is a traditional classical instrument used in Tamilnadu, Andhra Pradesh, Karnataka, and Kerala.
This instrument is "among the world's loudest non-brass acoustic instruments".[1] It is a wind instrument similar to the North Indian shehnaibut much longer, with a hardwood body and a large flaring bell made of wood or metal.
In Tamil culture, and telugu culture,the nadaswaram is considered to be very auspicious, and it is a key musical instrument played in almost all Hindu weddings and temples of the South Indian tradition.[2] It is part of the family of instruments known as mangala vadya[3] (lit. mangala ["auspicious"], vadya ["instrument"]). The instrument is usually played in pairs, and accompanied by a pair of drums called thavil;[4] it can also be accompanied with a drone from a similar oboe called the ottu.[5]

History
Nadaswaram is referred in many ancient Tamil texts. Silappatikaram refers to an instrument called "vangiyam". The structure of this instrument matches that of Nadaswaram. Since there are seven holes played with seven fingers this was also called as "Ezhil". This instrument, too, is widely played in Tamil Naduand popular among the Tamil Diaspora.

Construction
The nadaswaram contains three parts namely, kuzhal, thimiru, and anasu.[clarification needed]
It is a double reed instrument with a conical bore which gradually enlarges toward the lower end. The top portion has a metal staple (mel anaichu) into which is inserted a small metallic cylinder (kendai) which carries the mouthpiece made of reed. Besides spare reeds, a small ivory or horn needle is attached to the instrument, and used to clear the reed of saliva and other debris and allows free passage of air. A metallic bell (keezh anaichu) forms the bottom end of the instrument.
Traditionally the body of the nadaswaram is made out of a tree called aacha (Tamil ஆச்சா; Hindi अंजन), although nowadays bamboo, sandalwood, copper, brass, ebony and ivory are also used. For wooden instruments, old wood is considered the best, and sometimes wood salvaged from demolished old houses is used.[6]
The nadaswaram has seven finger-holes, and five additional holes drilled at the bottom which can be stopped with wax to modify the tone The nadaswaram has a range of two and a half octaves, similar to the Indian bansuri flute,which also has a similar fingering. Unlike the flute where semi and quarter tones are produced by the partial opening and closing of the finger holes, in the nadaswaram they are produced by adjusting the pressure and strength of the air-flow into the pipe. Due to its intense volume and strength it is largely an outdoor instrument and much more suited for open spaces than for indoor concerts.

Music instrument chenda

The Chenda (Malayalam: ചെണ്ട, [tʃeɳʈa]) is a cylindrical percussion instrument used widely in the state of Kerala, Tulu Nadu of Karnatakaand Tamil Nadu in India. In Tulu Nadu (Coastal Karnataka), it is known as chande.
A Chenda is a cylindrical wooden drum, and has a length of two feet and a diameter of one foot. Both ends are covered (usually with animal's skin) with the "Chenda Vattam". The animal skin is usually of a cow (Heifer), in a traditional Chenda other skins are not used (skin of bull, ox etc. are not used), to have a quality sound the skin from the abdominal part of the cow is taken. The Chenda is suspended from the drummers neck so that it hangs vertically. Though both sides can be used for playing, only one is actually beaten. Using two sticks, the drummer strikes the upper parchment.
This instrument is famous for its loud and rigid sound. A Chenda has two sides, the left side called "Edamthala" (ഇടം തല)(Left Head) and the right side "Valamthala" (വലം തല)(Right Head). The "Edamthala" is made of only one/two layer of cow skin and the "Valamthala" will have a five/seven layer skin, so as to have a bass sound. The skin are dried under shadow and fastened on wooden rings (Chenda Vattam, ചെണ്ട വട്ടം) made of the trunk of a locally available palm tree(Eeranpana) or bamboo, using a gum prepared from the seed of a tree called "pananchi maram". The circular frame is kept in a vessel, boiled for an entire day and then bent in the form of circle and dried up. The body of the Chenda which is 1 ft in diameter and 1.5 inches thickness is made of the soft wood of the jackfruit tree (വരിക്ക പ്ലാവ്) (Varikka Plavu). The thickness is again reduced by 0.25 inches, at simultaneous points separated by 4 inches. This is done in order to produce highly resonating sound. Only the wooden rings with the skin (Chenda Vattam) is replaced once the quality of the sound is not up to the mark. For regular Chenda artists an average of 15 rings are required every year.
The Chenda is mainly played in Hindu temple festivals and as an accompaniment in the religious art forms of Kerala. The chenda is used as an accompaniment for Kathakali, Koodiyattam, Kannyar Kali, Theyyam and among many forms of dances and rituals in Kerala. It is also played in a dance-drama called Yakshagana (Tenku Thittu) which is popular in Tulu Nadu in Karnataka. There is a variant of this instrument used in northern school of Yakshagana called Chande. It is traditionally considered to be an Asura Vadyam ((demonic instrument)) which means it cannot go in harmony. Chenda is an unavoidable musical instrument in all form of cultural activities in Kerala.

Chenda.
In Kerala the craft of making Chenda is now associated with some few "Perumkollan" (smith) families at Peruvembu, Nemmara, Lakkidi, Vellarkad and Valappaya villages. Many famous Chenda percussionists in Kerala make their Chendas from Vellarkadvillage for it is famous for the quality of the instrument.

Types of Chenda
Chendas are of different types, depending upon the diameter of the "Chenda Vattam" (ചെണ്ട വട്ടം) they are called "Ettara Veechan Chenda" (എട്ടര വീചാൻ ചെണ്ട) (8.5), "Ompathu Veechan Chenda" (ഒന്പത് വീചാൻ ചെണ്ട) (9), "Ompathe Kal Veechan Chenda" (ഒന്പെതെ കൽ വീചാൻ ചെണ്ട)(9 1/4), "Ompathara Veechan Chenda" (ഒന്പതര വീചാൻ ചെണ്ട)(9.5), "Ompathe Mukkal Veechan Chenda" (ഒൻപതെ മുക്കാൽ വീചാൻ ചെണ്ട) (9 3/4), "Ompathe Mukkal Kali Chenda" (ഒൻപതെ മുക്കാൽ കലി വീചാൻ ചെണ്ട)(> 9 3/4 but < 10). These Chendas are used for different purposes especially for different art forms.
Depending upon the size, structure and function of the Chenda, they are classified as, "Veekku Chenda" (വീക് ചെണ്ട) or "Acchan Chenda" (അച്ഛൻ ചെണ്ട), "Uruttu Chenda" (ഉര്രുട്ട് ചെണ്ട), "Muri Chenda" etc.
"Uruttu Chenda" (ഉര്രുട്ട് ചെണ്ട) is used to play variations in music. It is used to lead the orchestra. It is called the ""Pramanavadhya"" (Leading instrument). The "Chenda Vattam" (ചെണ്ട വട്ടം) of the "Uruttu Chenda" is always the "Edam Thala"

Idakka musical instrument

Idakka

The idakka (Malayalam: ഇടയ്ക്ക), also spelt edaykka/edakka, is an hourglass-shaped drum from Kerala in south India. This handy percussion instrument is very similar to the pan-Indian damaru. This drum is popularised by Njeralathu Ramapothuval in general public of Kerala which was very restricted to play only inside the temple walls.While the damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick. Like the damaru, the idakka's pitch may be bent by squeezing the lacing in the middle.
The sanskrit word Dakka was misspelt by Kerala people (there are lot of sanskrit and other language words were misspelt same as this[citation needed]. Njeralathu Harigovindan has written, and done demonstration programmes, on Edakka (Idakka) in detail (www.sopanasangeetham.com). This is the one and only drum in the world which can express all the vocal notes. Owing to this tonal quality, there have been performers who have even used it as a singing instrument, to give full-fledged concerts, including Carnatic music.
The idakka is slung over the left shoulder and the right side of the instrument is gently beaten with a thin curve-ended stick. The left hand is used for moving the 'Kutti' in upward and downward directions to scale the base and top notes. Varying the tension from 'Thol Kacha' through the inter-laced chord to both the 'Vattams' produces variations in tones. Simple melodies extending over one octave can be played in this instrument. The idakka is considered to be Devavadyam (a divine instrument) and is customarily played standalone during the puja at temples or as the accompaniment to the Sopanam music just outside the sanctum sanctorum, customarily by the Ambalavasi community (especially Marar or Poduval communities). More popularly, it is one of the five instruments that constitute the panchavadhyam ensemble of Kerala.
Kathakali, the classical dance-drama from Kerala, also gives a slot to playing the idakka when a female character holds the stage (when the Chenda is not played). In Koodiyattam too, the Idakka gives good support to the mizhavu (pot drum). The idakka is an indispensable accompaniment for other dance forms, most notably Mohiniyattam and Krishnanattam. It has become an accepted member of several dance troupes outside Kerala. Idakka is also used to present the traditional concert called Thayambaka.

Shri Chendamangalam Unnikrishna Maarar Idakka artist in action - In the middle.
Idakka is regarded as a difficult instrument to master, given that the rolls are produced from a single stick (not two unlike in the case of the chenda) and that the practitioner should have a good sense of both rhythm and melody. There are many institutions in Kerala where idakka is being taught, the most important among them being Njeralathu Kalasramam at Shornur and Angadipuram Kerala Kalamandalam and Kshetra Kalapeetham in Vaikom.
Of the current lot of Idakka artists, the most famous include Vinu Baarath, Sujith Kottol,Subramanian Peringod,Sooranad Harikumar,Thiruvilvamala Hari, Tripunithura Krishnadas, Chottanikara Subhash Marar, Tichur Mohanan, Chendamangalam Unni,Thiruvillwamala Jayan, Tripunithura Harikrishnan and Anand k r. The one name that is always synonymous with idakka and Sopana sangeetham in the second half of the 20th century has been the legendary Pallavur Appu Marar—he, unlike many others, was an expert in using it both as a percussion and musical instrument.

Poems

DO NOT LOVE ME YET

http://gg-l.xyz/lD5C2eqN
Do not love me yet, for I Am still a slender moon,
A scimitar about the heart Too sharp to touch too soon.
Before I’m touched I need to grow More full in golden light;
I need to smile upon my earth And rule some patch of night.
I need to know what roads and fields Lie in my domain And dull my brand new ecstasies With sophomoric pain.
http://gg-l.xyz/lD5C2eqN I need the love of some blank boy As cold and dark as me, That we might grope in ignorance And fear of what might be. And then, when I’m a silver bowl And know what I can hold, Then, then, perhaps, we could try love If you are not too old.

Read novel "THE CHAPEL"

Click link below to read....

https://drive.google.com/file/d/1b-ESQ0uCFkGg-JKHDX3Q5wMQNc6lr-BN/view?usp=drivesdk

https://drive.google.com/file/d/1b-ESQ0uCFkGg-JKHDX3Q5wMQNc6lr-BN/view?usp=drivesdk

Poem. A farewell

FAREWELL, thou little Nook of mountain-ground,
Thou rocky corner in the lowest stair
Of that magnificent temple which doth bound
One side of our whole vale with grandeur rare;
Sweet garden-orchard, eminently fair,
The loveliest spot that man hath ever found,
Farewell!--we leave thee to Heaven's peaceful care,
Thee, and the Cottage which thou dost surround.

Our boat is safely anchored by the shore,
And there will safely ride when we are gone;
The flowering shrubs that deck our humble door
Will prosper, though untended and alone:
Fields, goods, and far-off chattels we have none:
These narrow bounds contain our private store
Of things earth makes, and sun doth shine upon;
Here are they in our sight--we have no more.

Sunshine and shower be with you, bud and bell!
For two months now in vain we shall be sought:
We leave you here in solitude to dwell
With these our latest gifts of tender thought;
Thou, like the morning, in thy saffron coat,
Bright gowan, and marsh-marigold, farewell!
Whom from the borders of the Lake we brought,
And placed together near our rocky Well.

We go for One to whom ye will be dear;
And she will prize this Bower, this Indian shed,
Our own contrivance, Building without peer!
--A gentle Maid, whose heart is lowly bred,
Whose pleasures are in wild fields gathered,
With joyousness, and with a thoughtful cheer,
Will come to you; to you herself will wed;
And love the blessed life that we lead here.

Dear Spot! which we have watched with tender heed,
Bringing thee chosen plants and blossoms blown
Among the distant mountains, flower and weed,
Which thou hast taken to thee as thy own,
Making all kindness registered and known;
Thou for our sakes, though Nature's child indeed,
Fair in thyself and beautiful alone,
Hast taken gifts which thou dost little need.

And O most constant, yet most fickle Place,
Thou hast thy wayward moods, as thou dost show
To them who look not daily on thy face;
Who, being loved, in love no bounds dost know,
And say'st, when we forsake thee, 'Let them go!'
Thou easy-hearted Thing, with thy wild race
Of weeds and flowers, till we return be slow,
And travel with the year at a soft pace.

Help us to tell Her tales of years gone by,
And this sweet spring, the best beloved and best;
Joy will be flown in its mortality;
Something must stay to tell us of the rest.
Here, thronged with primroses, the steep rock's breast
Glittered at evening like a starry sky;
And in this bush our sparrow built her nest,
Of which I sang one song that will not die.

O happy Garden! whose seclusion deep
Hath been so friendly to industrious hours;
And to soft slumbers, that did gently steep
Our spirits, carrying with them dreams of flowers,
And wild notes warbled among leafy bowers;
Two burning months let summer overleap,
And, coming back with Her who will be ours,
Into thy bosom we again shall creep.

Poem ... A Complaint

There is a change--and I am poor;
Your love hath been, nor long ago,
A fountain at my fond heart's door,
Whose only business was to flow;
And flow it did; not taking heed
Of its own bounty, or my need.

What happy moments did I count!
Blest was I then all bliss above!
Now, for that consecrated fount
Of murmuring, sparkling, living love,
What have I? Shall I dare to tell?
A comfortless and hidden well.

A well of love--it may be deep--
I trust it is,--and never dry:
What matter? If the waters sleep
In silence and obscurity.
--Such change, and at the very door
Of my fond heart, hath made me poor.

Poem..Nature is what wr see...

"Nature" is what we see—
The Hill—the Afternoon—
Squirrel—Eclipse—the Bumble bee—
Nay—Nature is Heaven—
Nature is what we hear—
The Bobolink—the Sea—
Thunder—the Cricket—
Nay—Nature is Harmony—
Nature is what we know—
Yet have no art to say—
So impotent Our Wisdom is
To her Simplicity.

Poem... Why do i love you sir by emily dickinson

"Why do I love" You, Sir?
Because—
The Wind does not require the Grass
To answer—Wherefore when He pass
She cannot keep Her place.

Because He knows—and
Do not You—
And We know not—
Enough for Us
The Wisdom it be so—

The Lightning—never asked an Eye
Wherefore it shut—when He was by—
Because He knows it cannot speak—
And reasons not contained—
—Of Talk—
There be—preferred by Daintier Folk—

The Sunrise—Sire—compelleth Me—
Because He's Sunrise—and I see—
Therefore—Then—
I love Thee—

by Emily Dickinson

Emily Dickinson...

Emily Dickinson was a reclusive American poet. Unrecognized in her own time, Dickinson is known posthumously for her innovative use of form and syntax.
Synopsis

Born on December 10, 1830, in Amherst, Massachusetts, Emily Dickinson left school as a teenager, eventually living a reclusive life on the family homestead. There, she secretly created bundles of poetry and wrote hundreds of letters. Due to a discovery by sister Lavinia, Dickinson's remarkable work was published after her death—on May 15, 1886, in Amherst—and she is now considered one of the towering figures of American literature.

➡️Early Life and Education

Emily Elizabeth Dickinson was born on December 10, 1830, in Amherst, Massachusetts. Her family had deep roots in New England. Her paternal grandfather, Samuel Dickinson, was well known as the founder of Amherst College. Her father worked at Amherst and served as a state legislator. He married Emily Norcross in 1828 and the couple had three children: William Austin, Lavinia Norcross and middle child Emily.

An excellent student, Dickinson was educated at Amherst Academy (now Amherst College) for seven years and then attended Mount Holyoke Female Seminary for a year. Though the precise reasons for Dickinson's final departure from the academy in 1848 are unknown; theories offered say that her fragile emotional state may have played a role and/or that her father decided to pull her from the school. Dickinson ultimately never joined a particular church or denomination, steadfastly going against the religious norms of the time.

➡️Family Dynamics and Writing

Dickinson began writing as a teenager. Her early influences include Leonard Humphrey, principal of Amherst Academy, and a family friend named Benjamin Franklin Newton, who sent Dickinson a book of poetry by Ralph Waldo Emerson. In 1855, Dickinson ventured outside of Amherst, as far as Philadelphia, Pennsylvania. There, she befriended a minister named Charles Wadsworth, who would also become a cherished correspondent.

Among her peers, Dickinson's closest friend and adviser was a woman named Susan Gilbert, who may have been an amorous interest of Dickinson's as well. In 1856, Gilbert married Dickinson's brother, William. The Dickinson family lived on a large home known as the Homestead in Amherst. After their marriage, William and Susan settled in a property next to the Homestead known as the Evergreens. Emily and sister Lavinia served as chief caregivers for their ailing mother until she passed away in 1882. Neither Emily nor her sister ever married and lived together at the Homestead until their respective deaths.

Dickinson's seclusion during her later years has been the object of much speculation. Scholars have thought that she suffered from conditions such as agoraphobia, depression and/or anxiety, or may have been sequestered due to her responsibilities as guardian of her sick mother. Dickinson was also treated for a painful ailment of her eyes. After the mid-1860s, she rarely left the confines of the Homestead. It was also around this time, from the late 1850s to mid-'60s, that Dickinson was most productive as a poet, creating small bundles of verse known as fascicles without any awareness on the part of her family members.

In her spare time, Dickinson studied botany and produced a vast herbarium. She also maintained correspondence with a variety of contacts. One of her friendships, with Judge Otis Phillips Lord, seems to have developed into a romance before Lord's death in 1884.

➡️Death and Discovery

Dickinson died of kidney disease in Amherst, Massachusetts, on May 15, 1886, at the age of 55. She was laid to rest in her family plot at West Cemetery. The Homestead, where Dickinson was born, is now a museum.

Little of Dickinson's work was published at the time of her death, and the few works that were published were edited and altered to adhere to conventional standards of the time.

William WordsWorth

William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature  with their joint publication Lyrical Ballads  (1798).


Wordsworth's magnum opus is generally considered to be The Prelude, a semi-autobiographical poem of his early years that he revised and expanded a number of times. It was posthumously titled and published, before which it was generally known as "the poem to Coleridge". Wordsworth was Britain's poet laureate from 1843 until his death from pleurisy on 23 April 1850.


    The second of five children born to John Wordsworth and Ann Cookson, William Wordsworth was born on 7 April 1770 in Wordsworth House in Cockermouth, Cumberland, part of the scenic region in northwestern England known as the Lake District. His sister, the poet and diarist Dorothy Wordsworth, to whom he was close all his life, was born the following year, and the two were baptised together. They had three other siblings: Richard, the eldest, who became a lawyer; John, born after Dorothy, who went to sea and died in 1805 when the ship of which he was captain, the Earl of Abergavenny, was wrecked off the south coast of England; and Christopher, the youngest, who entered the Church and rose to be Master of Trinity College, Cambridge.

Wordsworth's father was a legal representative of James Lowther, 1st Earl of Lonsdale and, through his connections, lived in a large mansion in the small town. He was frequently away from home on business, so the young William and his siblings had little involvement with him and remained distant from him until his death in 1783. However, he did encourage William in his reading, and in particular set him to commit to memory large portions of verse, including works by Milton, Shakespeare and Spenser. William was also allowed to use his father's library. William also spent time at his mother's parents' house in Penrith, Cumberland, where he was exposed to the moors, but did not get along with his grandparents or his uncle, who also lived there. His hostile interactions with them distressed him to the point of contemplating suicide.

Wordsworth was taught to read by his mother and attended, first, a tiny school of low quality in Cockermouth, then a school in Penrith for the children of upper-class families, where he was taught by Ann Birkett, who insisted on instilling in her students traditions that included pursuing both scholarly and local activities, especially the festivals around Easter, May Day and Shrove Tuesday. Wordsworth was taught both the Bible and the Spectator, but little else. It was at the school in Penrith that he met the Hutchinsons, including Mary, who later became his wife.

After the death of his mother, in 1778, Wordsworth's father sent him to Hawkshead Grammar School in Lancashire (now in Cumbria) and sent Dorothy to live with relatives in Yorkshire. She and William did not meet again for another nine years.

Wordsworth made his debut as a writer in 1787 when he published a sonnet in The European Magazine. That same year he began attending St John's College, Cambridge. He received his BA degree in 1791. He returned to Hawkshead for the first two summers of his time at Cambridge, and often spent later holidays on walking tours, visiting places famous for the beauty of their landscape. In 1790 he went on a walking tour of Europe, during which he toured the Alps extensively, and visited nearby areas of France, Switzerland, and Italy.

A New National Anthem

I.
God prosper, speed,and save,
God raise from England’s grave
Her murdered Queen!
Pave with swift victory
The steps of Liberty,
Whom Britons own to be
Immortal Queen.

II.
See, she comes throned on high,
On swift Eternity!
God save the Queen!
Millions on millions wait,
Firm, rapid, and elate,
On her majestic state!
God save the Queen!

III.
She is Thine own pure soul
Moulding the mighty whole,--
God save the Queen!
She is Thine own deep love
Rained down from Heaven above,--
Wherever she rest or move,
God save our Queen!

IV.
‘Wilder her enemies
In their own dark disguise,--
God save our Queen!
All earthly things that dare
Her sacred name to bear,
Strip them, as kings are, bare;
God save the Queen!

V.
Be her eternal throne
Built in our hearts alone--
God save the Queen!
Let the oppressor hold
Canopied seats of gold;
She sits enthroned of old
O’er our hearts Queen.

VI.
Lips touched by seraphim
Breathe out the choral hymn
‘God save the Queen!’
Sweet as if angels sang,
Loud as that trumpet’s clang
Wakening the world’s dead gang,--
God save the Queen!

by Percy Bysshe Shelley

Love's philosophy p b shelley

The fountains mingle with the river,
And the rivers with the ocean;
The winds of heaven mix forever
With a sweet emotion;
Nothing in the world is single;
All things by a law divine
In another's being mingle-
Why not I with thine?

See, the mountains kiss high heaven,
And the waves clasp one another;
No sister flower could be forgiven
If it disdained its brother;
And the sunlight clasps the earth,
And the moonbeams kiss the sea; -
What are all these kissings worth,
If thou kiss not me?

Poem of Percy Bysshe Shelley 1792-1822

I.
The golden gates of Sleep unbar
Where Strength and Beauty, met together,
Kindle their image like a star
In a sea of glassy weather!
Night, with all thy stars look down,--
Darkness, weep thy holiest dew,--
Never smiled the inconstant moon
On a pair so true.
Let eyes not see their own delight;--
Haste, swift Hour, and thy flight
Oft renew.

II.
Fairies, sprites, and angels, keep her!
Holy stars, permit no wrong!
And return to wake the sleeper,
Dawn,—ere it be long!
O joy! O fear! what will be done
In the absence of the sun!
Come along!

The Yoga Sūtras of Patañjali are 196 Indian sutras (aphorisms). The Yoga Sutras were compiled prior to 400 CE by Sage Patanjali, taking materials about yoga from older traditions. The Yoga Sūtras of Patañjali  was the most translated ancient Indian text in the medieval era, having been translated into about forty Indian languages and two non-Indian languages: Old Javanese and Arabic.[4] David Gordon White points to a period of when the text fell into relative obscurity for nearly 700 years from the 12th to 19th century, and made a comeback in late 19th century due to the efforts of Swami Vivekananda, the Theosophical Society and others. It gained prominence again as a comeback classic in the 20th century.

Before the 20th century, history indicates the Indian yoga scene was dominated by the Bhagavad Gita, Yoga Vasistha, texts attributed to Yajnavalkya and Hiranyagarbha, as well as literature on hatha yoga, tantric yoga and pashupata yoga rather than the Yoga Sūtras of Patañjali.

In the 20th century the western practitioners of yoga elevated the Yoga Sutras to a status it never knew previously.

Hindu orthodox tradition holds the Yoga Sūtras of Patañjali to be the foundational text of classical Yoga philosophy. However, the appropriation - and misappropriation - of the Yoga Sutras and its influence on later systematizations of yoga has been questioned by scholars such as David Gordon White.

 Patañjali divided his Yoga Sutras into four chapters or books (Sanskrit pada), containing in all 196 aphorisms, divided as

🙏🙏.  Samadhi Pada (51 sutras). Samadhi  refers to a blissful state where the yogi is absorbed into the One. Samadhi is the main technique the yogin learns by which to dive into the depths of the mind to achieve Kaivalya. The author describes yoga and then the nature and the means to attaining samādhi. This chapter contains the famous definitional verse: "Yogaś citta-vritti-nirodhaḥ" ("Yoga is the restraint of mental modifications").

🙏🙏. Sadhana Pada (55 sutras). Sadhana is the Sanskrit word for "practice" or "discipline". Here the author outlines two forms of Yoga: Kriya Yoga (Action Yoga) and Ashtanga Yoga (Eightfold or Eightlimbed Yoga).
Kriya Yoga is closely related to Karma Yoga, which is also expounded in Chapter 3 of the Bhagavad Gita, where Arjuna is encouraged by Krishna to act without attachment to the results or fruit of action and activity. It is the yoga of selfless action and service.
Aṣṭāṅga Yoga describes the eight limbs that together constitute Rāja Yoga.

🙏🙏. Vibhuti Pada (56 sutras). Vibhuti is the Sanskrit word for "power" or "manifestation". 'Supra-normal powers' (Sanskrit: siddhi) are acquired by the practice of yoga. Combined simultaneous practice of Dhāraṇā, Dhyana and Samādhi  is referred to as Samyama, and is considered a tool of achieving various perfections, or Siddhis. The temptation of these powers should be avoided and the attention should be fixed only on liberation. The purpose of using samadhi is not to gain siddhis but to achieve Kaivalya. Siddhis are but distractions from Kaivalaya and are to be discouraged. Siddhis are but maya, or illusion.

 🙏🙏 Kaivalya Pada  (34 sutras). Kaivalya  literally means "isolation", but as used in the Sutras stands for emancipation or liberation and is used interchangeably with moksha  (liberation), which is the goal of yoga. The Kaivalya Pada describes the process of liberation and the reality of the transcendental ego.

What is karma (Duty) vivekananda

Chapter I.
Karma In Its Effect On  Character  

The word Karma is derived from the Sanskrit Kri, to do; all action is Karma. Technically, this word also means the effects of actions. In connection with metaphysics, it sometimes means the effects, of which our past actions were the causes. But in Karma-Yoga we have simply to do with the word Karma as meaning work. The goal of mankind is knowledge. That is the one ideal placed before us by Eastern philosophy. Pleasure is not the goal of man, but knowledge. Pleasure and happiness come to an end. It is a mistake to suppose that pleasure is the goal. The cause of all the miseries we have in the world is that men foolishly think pleasure to be the ideal to strive for. After a time man finds that it is not happiness, but knowledge, towards which he is going, and that both pleasure and pain are great teachers, and that he learns as much from evil as from good. As pleasure and pain pass before his soul they have upon it different pictures, and the result of these combined impressions is what is called man’s “character”. If you take the character of any man, it really is but the aggregate of tendencies, the sum total of the bent of his mind; you will find that misery and happiness are equal factors in the formation of that character. Good and evil have an equal share in moulding character, and in some instances misery is a greater teacher than happiness. In studying the great characters the world has produced, I dare say, in the vast majority of cases, it would be found that it was misery that taught more than happiness, it was poverty that taught more than wealth, it was blows that brought out their inner fire more than praise. Now this knowledge, again, is inherent in man. No knowledge comes from outside; it is all inside. What we say a man “knows”, should, in strict psychological language, be what he “discovers” or “unveils”; what a man “learns” is really what he “discovers”, by taking the cover off his own soul, which is a mine of infinite knowledge. We say Newton discovered gravitation. Was it sitting anywhere in a corner waiting for him? It was in his own mind; the time came and he found it out. All knowledge that the world has ever received comes from the mind; the infinite library of the universe is in your own mind. The external world is simply the suggestion, the occasion, which sets you to study your own mind, but the object of your study is always your own mind. The falling of an apple gave the suggestion to Newton, and he studied his own mind. He rearranged all  the previous links of thought in his mind and discovered a new link among them, which we call the law of gravitation. It was not in the apple nor in anything in the centre of the earth. All knowledge, therefore, secular or spiritual, is in the human mind. In many cases it is not discovered, but remains covered, and when the covering is being slowly taken off, we say, “We are learning,” and the advance of knowledge is made by the advance of this process of uncovering. The man from whom this veil is being lifted is the more knowing man, the man upon whom it lies thick is ignorant, and the man from whom it has entirely gone is all-knowing, omniscient. There have been omniscient men, and, I believe, there will be yet; and that there will be myriads of them in the cycles to come. Like fire in a piece of flint, knowledge exists in the mind; suggestion is the friction which brings it out. So with all our feelings and action — our tears and our smiles, our joys and our griefs, our weeping and our laughter, our curses and our blessings, our praises and our blames — every one of these we may find, if we calmly study our own selves, to have been brought out from within ourselves by so many blows. The result is what we are. All these blows taken together are called Karma — work, action. Every mental and physical blow that is given to the soul, by which, as it were, fire is struck from it, and by which its own power and knowledge .

Buddhism, The Fulfilment Of Hinduism. Vivekananda

Buddhism, The Fulfilment Of Hinduism
   
26th September, 1893
 
 I am not a Buddhist, as you have heard, and yet I am. If China, or Japan, or Ceylon follow the teachings of the Great Master, India worships him as God incarnate on earth. You have just now heard that I am going to criticise Buddhism, but by that I wish you to understand only this. Far be it from me to criticise him whom I worship as God incarnate on earth. But our views about Buddha are that he was not understood properly by his disciples. The relation between Hinduism (by Hinduism, I mean the religion of the Vedas) and what is called Buddhism at the present day is nearly the same as between Judaism and Christianity. Jesus Christ was a Jew, and Shâkya Muni was a Hindu. The Jews rejected Jesus Christ, nay, crucified him, and the Hindus have accepted Shâkya Muni as God and worship him. But the real difference that we Hindus want to show between modern Buddhism and what we should understand as the teachings of Lord Buddha lies principally in this: Shâkya Muni came to preach nothing new. He also, like Jesus, came to fulfil and not to destroy. Only, in the case of Jesus, it was the old people, the Jews, who did not understand him, while in the case of Buddha, it was his own followers who did not realise the import of his teachings. As the Jew did not understand the fulfilment of the Old Testament, so the Buddhist did not understand the fulfilment of the truths of the Hindu religion. Again, I repeat, Shâkya Muni came not to destroy, but he was the fulfilment, the logical conclusion, the logical development of the religion of the Hindus. The religion of the Hindus is divided into two parts: the ceremonial and the spiritual. The spiritual portion is specially studied by the monks. In that there is no caste. A man from the highest caste and a man from the lowest may become a monk in India, and the two castes become equal. In religion there is no caste; caste is simply a social institution. Shâkya Muni himself was a monk, and it was his glory that he had the large-heartedness to bring out the truths from the hidden Vedas and through them broadcast all over the world. He was the first being in the world who brought missionarising into practice — nay, he was the first to conceive the idea of proselytising. The great glory of the Master lay in his wonderful sympathy for everybody, especially for the ignorant and the poor. Some of his disciples were Brahmins. When Buddha was teaching, Sanskrit was no more the spoken language in India. It was then only in the books of the learned. Some of Buddha’s Brahmins disciples wanted to translate his teachings into Sanskrit, but he distinctly told them, “I am for the poor, for the people; let me speak in the tongue of the people.” And so to this day the great bulk of his teachings are in the vernacular of that day in India. Whatever may be the position of philosophy, whatever may be the position of metaphysics, so long as there is such a thing as death in the world, so long as there is such a thing as weakness in the human heart, so long as there is a cry going out of the heart of man in his very weakness, there shall be a faith in God. On the philosophic side the disciples of the Great Master dashed themselves against the eternal rocks of the Vedas and could not crush them, and on the other side they took away from the nation that eternal God to which every one, man or woman, clings so fondly. And the result was that Buddhism had to die a natural death in India. At the present day there is not one who calls oneself a Buddhist in India, the land of its birth. But at the same time, Brahminism lost something — that reforming zeal, that wonderful sympathy and charity for everybody, that wonderful heaven which Buddhism had brought to the masses and which had rendered Indian society so great that a Greek historian who wrote about India of that time was led to say that no Hindu was known to tell an untruth and no Hindu woman was known to be unchaste.

Religion Not The Crying Need Of India vivekananda

Religion Not The Crying Need Of India

20th September, 1893
 
Christians must always be ready for good criticism, and I hardly think that you will mind if I make a little criticism. You Christians, who are so fond of sending out missionaries to save the soul of the heathen — why do you not try to save their bodies from starvation? In India, during the terrible famines, thousands died from hunger, yet you Christians did nothing. You erect churches all through India, but the crying evil in the East is not religion — they have religion enough — but it is bread that the suffering millions of burning India cry out for with parched throats. They ask us for bread, but we give them stones. It is an insult to a starving people to offer them religion; it is an insult to a starving man to teach him metaphysics. In India a priest that preached for money would lose caste and be spat upon by the people. I came here to seek aid for my impoverished people, and I fully realised how difficult it was to get help for heathens from Christians in a Christian land.

Swami vivekananda..speech

Why We Disagree

 15th September, 1893  

I will tell you a little story. You have heard the eloquent speaker who has just finished say, “Let us cease from abusing each other,” and he was very sorry that there should be always so much variance. But I think I should tell you a story which would illustrate the cause of this variance. A frog lived in a well. It had lived there for a long time. It was born there and brought up there, and yet was a little, small frog. Of course the evolutionists were not there then to tell us whether the frog lost its eyes or not, but, for our story’s sake, we must take it for granted that it had its eyes, and that it every day cleansed the water of all the worms and bacilli that lived in it with an energy that would do credit to our modern bacteriologists. In this way it went on and became a little sleek and fat. Well, one day another frog that lived in the sea came and fell into the well. “Where are you from?” “I am from the sea.” “The sea! How big is that? Is it as big as my well?” and he took a leap from one side of the well to the other. “My friend,” said the frog of the sea, “how do you compare the sea with your little well?” Then the frog took another leap and asked, “Is your sea so big?” “What nonsense you speak, to compare the sea with your well!” “Well, then,” said the frog of the well, “nothing can be bigger than my well; there can be nothing bigger than this; this fellow is a liar, so turn him out.” That has been the difficulty all the while. I am a Hindu. I am sitting in my own little well and thinking that the whole world is my little well. The Christian sits in his little well and thinks the whole world is his well. The Mohammedan sits in his little well and thinks that is the whole world. I have to thank you of America for the great attempt you are making to break down the barriers of this little world of ours, and hope that, in the future, the Lord will help you to accomplish your purpose.

Swami vivekananda

11th September, 1893
         

Sisters and Brothers of America, It fills my heart with joy unspeakable to rise in response to the warm and cordial welcome which you have given us. I thank you in the name of the most ancient order of monks in the world; I thank you in the name of the mother of religions; and I thank you in the name of millions and millions of Hindu people of all classes and sects. My thanks, also, to some of the speakers on this platform who, referring to the delegates from the Orient, have told you that these men from far-off nations may well claim the honour of bearing to different lands the idea of toleration. I am proud to belong to a religion which has taught the world both tolerance and universal acceptance. We believe not only in universal toleration, but we accept all religions as true. I am proud to belong to a nation which has sheltered the persecuted and the refugees of all religions and all nations of the earth. I am proud to tell you that we have gathered in our bosom the purest remnant of the Israelites, who came to Southern India and took refuge with us in the very year in which their holy temple was shattered to pieces by Roman tyranny. I am proud to belong to the religion which has sheltered and is still fostering the remnant of the grand Zoroastrian nation. I will quote to you, brethren, a few lines from a hymn which I remember to have repeated from my earliest boyhood, which is every day repeated by millions of human beings: “As the different streams having their sources in different places all mingle their water in the sea, so, O Lord, the different paths which men take through different tendencies, various though they appear, crooked or straight, all lead to Thee.” The present convention, which is one of the most august assemblies ever held, is in itself a vindication, a declaration to the world of the wonderful doctrine preached in the Gita: “Whosoever comes to Me, through whatsoever form, I reach him; all men are struggling through paths which in the end lead to me.” Sectarianism, bigotry, and its horrible descendant, fanaticism, have long possessed this beautiful earth. They have filled the earth with violence, drenched it often and often with human blood, destroyed civilisation and sent whole nations to despair. Had it not been for these horrible demons, human society would be far more advanced than it is now. But their time is come; and I fervently hope that the bell that tolled this morning in honour of this convention may be the death-knell of all fanaticism, of all persecutions with the sword or with the pen, and of all uncharitable feelings between persons wending their way to the same goal.