Paroles (i Should Be Your)girlfriend lyrics par The Servant: She says. 0 - 0 - 1; Langue: EN; Album: (I Should Be Your) Girlfriend; Traduction: (i Should Be Your )girlfriend traduction sans autorisation. Writer(s): Daniel Edward Black Lyrics powered by guiadeayuntamientos.info How to Destroy a Relationship · Liquefy. (paroles de la chanson Hey Lou Reed – THE SERVANT) Paroles de Hey Lou Reed. The Servant How To Destroy A Relationship J'aime les paroles. 9 oct. Paroles Beautiful Thing lyrics par The Servant: Sucking on blackcurrant juice out Album: The Servant; Traduction: Beautiful Thing traduction.
A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal. It is to do nothing that the elect exist. Action is limited and relative. Unlimited and absolute is the vision of him who sits at ease and watches, who walks in loneliness and dreams. As long as war is regarded as wicked, it will always have its fascination. When it is looked upon as vulgar, it will cease to be popular. To be good, according to the vulgar standard of goodness, is obviously quite easy.
It merely requires a certain amount of sordid terror, a certain lack of imaginative thought, and a certain low passion for middle-class respectability. There is no sin except stupidity. Don't say you agree with me. When people agree with me I always feel I must be wrong. England has done one thing; it has invented and established Public Opinion, which is an attempt to organize the ignorance of the community, and to elevate it to the dignity of physical force.
A dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world. One is tempted to define man as a rational animal who always loses his temper when he is called upon to act in accordance with the dictates of reason. In fact, scarcely any one at all escapes.
Just as the worst slave-owners were those who were kind to their slaves, and so prevented the horror of the system being realised by those who suffered from it, and understood by those who contemplated it, so, in the present state of things in England, the people who do most harm are the people who try to do most good.
A Tempestuous Translation: Aimé Césaire’s Une tempête
Charity creates a multitude of sins. It is immoral to use private property in order to alleviate the horrible evils that result from the institution of private property. Disobediencein the eyes of any one who has read history, is man's original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion. Sometimes the poor are praised for being thrifty. But to recommend thrift to the poor is both grotesque and insulting. It is like advising a man who is starving to eat less.
As for begging, it is safer to beg than to take, but it is finer to take than to beg. Misery and poverty are so absolutely degrading, and exercise such a paralysing effect over the nature of men, that no class is ever really conscious of its own suffering. They have to be told of it by other people, and they often entirely disbelieve them. Agitators are a set of interfering, meddling people, who come down to some perfectly contented class of the community, and sow the seeds of discontent amongst them.
That is the reason why agitators are so absolutely necessary. Without them, in our incomplete state, there would be no advance towards civilisation. For the recognition of private property has really harmed Individualism, and obscured it, by confusing a man with what he possesses. It has led Individualism entirely astray. It has made gain not growth its aim. So that man thought that the important thing was to have, and did not know that the important thing is to be.
The true perfection of man lies, not in what man has, but in what man is. Private property has crushed true Individualism, and set up an Individualism that is false. It has debarred one part of the community from being individual by starving them.
Oscar Wilde - Wikiquote
It has debarred the other part of the community from being individual by putting them on the wrong road and encumbering them. Now, nothing should be able to harm a man except himself. Nothing should be able to rob a man at all. What a man really has, is what is in him.
What is outside of him should be a matter of no importance. With the abolition of private property, then, we shall have true, beautiful, healthy Individualism. Nobody will waste his life in accumulating things, and the symbols for things. To live is the rarest thing in the world. Most people exist, that is all. Wherever there is a man who exercises authority, there is a man who resists authority. The note of the perfect personality is not rebellion, but peace. It will be a marvellous thing--the true personality of man--when we see it.
It will grow naturally and simply, flowerlike, or as a tree grows. It will not be at discord. It will never argue or dispute. It will not prove things.
It will know everything. And yet it will not busy itself about knowledge. It will have wisdom. Its value will not be measured by material things. It will have nothing. And yet it will have everything, and whatever one takes from it, it will still have, so rich will it be. It will not be always meddling with others, or asking them to be like itself.
It will love them because they will be different. And yet while it will not meddle with others, it will help all, as a beautiful thing helps us, by being what it is. The personality of man will be very wonderful. It will be as wonderful as the personality of a child. Over the portal of the new world, 'Be thyself' shall be written. Don't imagine that your perfection lies in accumulating or possessing external things. Your perfection is inside of you. If only you could realise that, you would not want to be rich.
Ordinary riches can be stolen from a man. In the treasury-house of your soul, there are infinitely precious things, that may not be taken from you. And so, try to so shape your life that external things will not harm you. And try also to get rid of personal property. It involves sordid preoccupation, endless industry, continual wrong.
Personal property hinders Individualism at every step. There is only one class in the community that thinks more about money than the rich, and that is the poor. The things people say of a man do not alter a man.
He is what he is. Public opinion is of no value whatsoever. All modes of government are failures. Despotism is unjust to everybody, including the despot, who was probably made for better things. Oligarchies are unjust to the many, and ochlocracies are unjust to the few. High hopes were once formed of democracy; but democracy means simply the bludgeoning of the people by the people for the people. All authority is quite degrading. It degrades those who exercise it, and degrades those over whom it is exercised.
When private property is abolished there will be no necessity for crime, no demand for it; it will cease to exist. The fact is, that civilisation requires slaves. The Greeks were quite right there. Unless there are slaves to do the ugly, horrible, uninteresting work, culture and contemplation become almost impossible. Human slavery is wrong, insecure, and demoralizing. On mechanical slavery, on the slavery of the machine, the future of the world depends.
A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which Humanity is always landing. A work of art is the unique result of a unique temperament.
Its beauty comes from the fact that the author is what he is. It has nothing to do with the fact that other people want what they want. Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a dishonest tradesman.
He has no further claim to be considered as an artist. Art is the most intense mode of individualism that the world has known. I am inclined to say that it is the only real mode of individualism that the world has known.
Crime, which, under certain conditions, may seem to have created individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all. Art is this intense form of individualism that makes the public try to exercise over it an authority that is as immoral as it is ridiculous, and as corrupting as it is contemptible.
It is not quite their fault. The public have always, and in every age, been badly brought up. They are continually asking Art to be popular, to please their want of taste, to flatter their absurd vanity, to tell them what they have been told before, to show them what they ought to be tired of seeing, to amuse them when they feel heavy after eating too much, and to distract their thoughts when they are wearied of their own stupidity.
Now Art should never try to be popular. The public should try to make itself artistic. Art is Individualism, and Individualism is a disturbing and disintegrating force. Therein lies its immense value. For what it seeks to disturb is monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine. An individual who has to make things for the use of others, and with reference to their wants and their wishes, does not work with interest, and consequently cannot put into his work what is best in him.
Upon the other hand, whenever a community or a powerful section of a community, or a government of any kind, attempts to dictate to the artist what he is to do, Art either entirely vanishes, or becomes stereotyped, or degenerates into a low and ignoble form of craft. They are always asking a writer why he does not write like somebody else, or a painter why he does not paint like somebody else, quite oblivious of the fact that if either of them did anything of the kind he would cease to be an artist.
If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in such a spirit that he cannot receive any artistic impression from it at all. Such prayer is a ritual and religious obligation, performed every Sabbath to commemorate a loved one Birnbaum,pp.
As Hrushovski goes on to phrase itp. Hebrew was a component of Yiddish and nothing more, not to be given greater consideration than Slavic Harshav,pp.
After all, it had penetrated into the inner sanctum of the synagogue as Taytsh, the language of Biblical commentary see Noble,p. Of course, the translator is not expected to reproduce such intimacy, at least not in detail. Nevertheless, Yiddish remained populist and began to show a belief in a radical future.
It persisted in carrying a distinct cultural meaning and memory: But this is undoubtedly heavy-handed. Dobzynski happens to be the only anthologist of Yiddish poetry to include the convinced atheist Aron Verguelis, editor of Sovetish Heymland, chief journal of literary Yiddish in the former U.
Or course, Dobzynski does include religious issues both in his anthology and in his introductory discussion, as well he must. Still, emancipatory readiness was not enough. The Cracking of the Mold: Chmelnitzki GlatshteynI, p. How could one then unify the images to give them a decent poetic burial since real plots had been denied them in the Vilna Ghetto? He normalized the syntax so that the atrocity could step out plainly: GlatshteynI, p.
But their death was not merely physical: However, when Ernst Waldingerp. And he was not thinking of Neoromantic poetic movements in Galizia like Young Poland see Neigreschel,p. But in spite of the culture shock, magnified seismically when both were uprooted by Hitler to New York, Chmelnitzki came to the realization that both he and Waldinger spoke the same language: But translation into German, the language of the traumatizer, was definitely out of the question for the traumatized.
Tsu tsar tsadi-ayin-resh un tsu tsorn Arnon,p. But the Introspectivist Manifesto specified that a precise verbal echo, while enhancing the expression, was good only when integrated into the poem as a whole Harshav,p.
Jacob Glatshteyn rhymed only strategic parts of his creations: Even the freely stated intimacy of Malka Heifetz Tussman could bind itself to the interlocked rhyme scheme of a poem reminiscent of Chmelnitzki: Still, the above poets only used rhyme to clinch the poetic statement of a developing persona. Jacob Glatshteyn had expressed faith in the brave light of the word as early as The millions were not, clearly, victims of genocide; they were either those fallen in World War I or those victimized in the pogroms ofwhen Ukrainian nationalism unleashed frustration against the Jews.