Behemoth
Neuendorffer
<<Behemoth in contrast to the leviathan is a giant land animal, not a
sea creature. There seems to be a similar animal in a Ugaritic text BH
called ėgl il ėtk meaning "the ferocious bullock of El" (Pope 1965, 321;
KTU 1.3 III 44). Another text describes an animal as having horns like
bulls, humps like buffalo, and the face of Baal (Ibid; KTU 1.12 I
30-33). This beast may be the same as the Sumerian and Akkadian "bull of
heaven" who was slain by Gilgamesh and Enkidu in the Gilgamesh Epic
(Ibid., 322; ANET, 83-85; Heidel 1946, 53-55). The description in Job
40:21-23 seems to allude to the area around Lake Huleh which was filled
with buffalo. His tail is like a cedar branch that can easily bend or
sway (Pope think this refers to sexual arousal). This does not mean his
tail was as long as or as big as a huge cedar tree for verses 21-23 say,
"Under the lotus plants he lies, hidden among the reeds in the marsh.
The lotus conceal him in their shadow" (NIV). Reeds and lotus can not
hide a huge dinosaur.>>
Gilgamesh Epic
<<The Epic of Gilgamesh describes the battle with the Bull of Heaven.
Enkidu seized the Bull by the horns. "The Bull of Heaven foamed in his
face, it brushed him with the thick of its tailÖ.Gilgamesh followed the
bull, he seized the thick of his tail, he thrust the sword between the
nape and the horns and slew the bull" (Sandars 1972, 88; ANET, 85, 505).
The "thick of his tail" does not mean a dinosaur’s big tail, but the
tassel at the end of its tail. The Akkadian is ku-bur zib-ba-ti-su,
meaning "thickness of his tail" (ANET, 505). "It refers to the tassele
at the end of the tail in contrast to the thin middle part" (Ibid., note
29). The horns of the bull are plated with lapis two inches thick,
weighing thirty pounds, and holding 105 gallons each (Heidel, 55). This
was a huge mythical bull which is associated with the constellation
Taurus, the bull (Black and Green, 49). Gilgamesh also battles another
monster called "Huwawa" (Babylonian) or "Humbaba" (Assyrian) who lives
in the Cedar Forest. Huwawa is described by "his roaring is the
flood-storm, his mouth is fire, his breath is death" (ANET, 79;
Jacobsen, 200). This does not mean it breaths fire. This is poetical
language describing its snort that looks like smoke on a cool morning.>>
--------------------------------------------------------
Art Neuendorffer
Neuendorffer
http://members.aol.com/_ht_a/biblesci/science/index.htm
<<The word "leviathan" seems to be a general term for any large sea
animal. The name "Leviathan" occurs 6 times in the Old Testament. Let’s
look at these passages.
Job 3:8 says, "May those who curse days curse that day, those who are
ready torouse leviathan" (NIV). The KJV has "their mourning" but the
marginal note says, "Or, Leviathan." The Hebrew is clearly, /tywl,
"leviathan." Job wishes that soothsayers would have conjured up
leviathan to swallow up the day of his birth (NIV note). When there was
an eclipse of the sun or moon the ancients believed leviathan swallowed
them so total darkness prevailed until he released his prey (Delitzsch,
1976, 78). Job may be calling on the giants Ohya and Ahya who battled
Leviathan before they were destroyed in Noah’s flood according to the
Book of Giants (TDOT 1995, Vol.7, 506). There is an interesting Aramaic
incantation text that says, "I shall deliver you with great magic from
Leviathan, the sea monster" (Ibid, 505). Job 3:8 may be referring to the
constellation Draco. In ancient times the sky was seen as a mirror image
of the earth below. So the leviathan in the sea or nether world had a
counter part in the sky, Draco who would swallow the sun or moon when
there is an eclipse.
Job 41:1 says, "Can you pull in the leviathan with a fishhook" (NIV).
This whole chapter describes this terrible sea creature probably a giant
crocodile. It is said to have a tongue (verse 1), a nose and jaw (v.2),
limbs (v.12), mouth ringed with fearsome teeth (v.14), and a back
tightly fitted with scales (v.15). It describes smoke coming from his
nostrils. This is poetic language and is probably like seeing our
breathe which looks like smoke in cold weather. There is a similar
description of God coming in a thunderstorm in Psalm 18:8. Bartram
observed an alligator "that as it comes on the land a thick smoke issues
from its distended nostrils with a thundering sound. This thick, hot
steam, according to credible description which is presented here,
produces the impression of a fire exiting beneath, and bursting forth"
(Delitzsch 1976, 374). The sneezing of fine water particles in the sun
spreads light. Eyes of animals at night can shine or glow. The
crocodile’s eyes and eyelids glow red under water like the red at dawn
or dusk. It is not talking about real fire coming out of its mouth. This
is poetic language (See Revelation 19:12, and Daniel 10:6). In the Dead
Sea Scrolls 11Q10 a targum of Job translates leviathan as "Crocodile"
(Martinez 1994, 152).
Psalm 74:14 says, "Thou brakest the heads of leviathan in pieces, and
gavest him to be meat to the people inhabiting the wilderness" (KJV).
Here leviathan has more than one head in the Hebrew. In Ugaritic it is
clear that leviathan (ltn) had seven heads. In the story of Baal and Mot
it says, "for all that you smote Leviathan the slippery serpent (and)
made an end of the wriggling serpent, the tyrant with seven heads?"
(Gibson 1978, 68; ANET, 137-8; KTU 1.5, I.1-3). In Sumerian poetry there
is mus-sag-imin, the seven headed serpent. In Old Akkadian the
seven-tongued serpent, hubullu may also have seven heads (TDOT Vol.7,
507). There is even a
Sumerian carving of a seven-headed monster (ANEP fig. 671,& 691). The
many-headed Greek hydra who was killed by Hercules may come from the
ancient Near East stories of Leviathan. Could the idea of a many headed
sea monster come from seeing a giant squid or octopus, and assuming the
tentacles were heads. It seems that the word "leviathan" is a general
term for any large sea animal. In Job 41 it clearly has one head, but in
Psalm 74 it has many heads, probably a giant squid. In the Book of
Revelation 13:1 the beast arising from the sea has seven heads. This
seems to be alluding to the leviathan of seven heads tradition.
In the Odyssey there is a description of a sea monster called "Scylla."
"Her legend there are twelveare like great tentacles, unjointed, and
upon her serpent necks are borne six heads like night-mares of ferocity
and triple serried rows of fangs and deep gullets of black death. Half
her length, she sways her heads in air" (Fitzgerald 1961, 212; Book
12:88-94; LCL 104, 439). This seems to describe the giant squid,
Architeuthis which Ellis says is "probably responsible for more myths,
fables, fantasies, and fictions than all other marine monsters combined"
(1994, 122). Therefore it seems most likely that the stories of a
seven-headed sea serpent arose from seeing the giant squid,
Architeuthis. The Hydra who was killed by Hercules is probably a giant
octopus. The hydra is said to have nine heads, and when one was cut off,
two more grew in its place (Ibid, 260). Pliny the Elder lumps the squid
and octopus together as polyp in his book Naturalis Historia. Let’s look
at some actual sightings.
In 1555 Olaus Magus wrote a book called Historia de Gentibus
Septentrionalibus in which he describes a monsterous fish as follows,
"Their forms are horrible, their heads square, all set with prickles,
and they have long sharp horns round about like a tree rooted up by the
roots: They are ten or twelve cubits long, very black, with huge eyes Ö.
the Apple of the Eye is of one cubit, and is red and fiery coloured,
which in the dark night appears to Fisher-men afar off under waters, as
a burning fire, having hairs like goose feathers" (Ellis 1994, 124). De
Montford says its "huge protruding eyes actually seemed to flash fire"
(Ibid, 265). The giant squid has the largest eyes of any animal. One
observer said it skin was "brilliant carmine red" (Ibid, 129).
In 1632 a sea monster was said to have seven tails with eyes (Ibid,
126).
In 1673 another sea monster is described as having two heads and ten
horns.
An 1845 description says there was "boiling of the water on both sides
of it" and moved like a snake (Ibid., 366-7).
In 1879 a giant squid washed ashore and was "churning the water into
foam by the motion of its immense arms and tailÖejecting large volumes
of water" (Ibid., 136). Frederick Aldrich, an expert on giant squid
examined a 20 foot long immature specimen that he believed could grow to
150 feet in length (Ibid, 128).
Psalm 104:26 says, "There go the ships: there is leviathan, whom thou
hast made to play therein" (KJV). Clearly the habitat of leviathan in
this context is the sea. The ships sail in deep water so this can not be
a crocodile. This may refer to the whales, or more likely dolphins who
like to play following ships. Apollonius Rhodius in the third century BC
wrote in his book The Argonautica, "and the fishes came darting through
the deep sea, great mixed with small, and followed gamboling along the
watery paths" (Book 1.574). Apollonius describes the fish playfully
following the ship as sheep follow a shepherd. Aelian writes, "There are
Sea-monsters (off the coast of India) half a stade in length (300 feet),
and so powerful are they that, when they blow with their nostrils, they
often hurl up a wave from the sea to such a height that ignorant and
inexperienced people take it for a waterspout (hurricane)" (1959 Book
17:6). This is clearly the description of a whale. The spout of a whale
may also have been seen as smoke from its fiery mouth by ancient
mariners.
Isaiah 27:1 says, "In that day of the Lord with his sore and great and
strong sword shall punish leviathan the piercing serpent, even leviathan
that crooked serpent; and he shall slay the dragon that is in the sea"
(KJV). This is very similar to the Ugaritic description of Leviathan
that was quoted earlier. The terms "Rahab" and "tannin" are also used in
parallel to Leviathan.
In other ancient literature the Book of Enoch says, "On that day, two
monsters will be partedone monster, a female named Leviathan, in order
to dwell in the abyss of the ocean over the fountains of water; and (the
other), a male called Behemoth, which holds his chest in an invisible
desert whose name is Dundayin, east of Eden" (I Ethiopic Enoch 60:7-8).
In the targums and Rabbinic literature the "great whales" (KJV, but
"tannin" in the Hebrew) in Genesis 1:21 are said to be the Leviathan and
its mate. Leviathan, the gliding serpent is male, and Leviathan, the
winding serpent is female according to Reb. Judah. God castrated the
male and killed the female preserving her in the salt water for the
righteous to eat in the world to come (Bowker 1979, 104; see 2 Ezra,
also called 4 Ezra 6:49,52: 2 Baruch 29:4 in Charlesworth 1983).
The Leviathan may be a composite of several sea monster. Ancient Near
Eastern pictures abound with composite monsters. The snake-dragon of
Babylon pictured on its walls, has a snake’s body with horns, lions
forelegs, and a birds hindlegs (Black and Green 1992, 166). Sometimes
dinosaur bones are mistaken as monsters. One thing for sure is that
leviathan is not a dinosaur. In the Hebrew it is clearly a general term
for a large sea creature. It may live in the ocean or river. It may be a
living animal or a composite mythical creature. The context will usually
determine the meaning.
In Isaiah 51:9 "Rahab" is used in parallel to tannin, sea monster. In
Isaiah 30:7 and Psalm 87:4 "Rahab" is used as a designation for Egypt
which is symbolized by a giant crocodile (Heidel, 104-5). In Isaiah 27:1
the leviathan is also used in parallel to tannin. Some equate these
monster to the constellations Draco, Hydra, and Serpens (ISBE, Vol.1,
309). Some ancients saw the clouds as a personification of a dragon (Job
26:12; Heidel, 104-5). Some equate Rahab with the mythical sea monster
Tiamat who was split open to make heaven and earth by Marduk (Job
16:12).>>
--------------------------------------------------------------------
Art Neuendorffer
Neuendorffer
The Merry Wives of Windsor Act 1, Scene 3
PISTOL Then did the sun on dunghill shine.
-------------------------------------------------------------------------
Love's Labour's Lost Act 5, Scene 1
COSTARD An I had but one penny in the world, thou shouldst
have it to buy gingerbread: hold, there is the very
remuneration I had of thy master, thou halfpenny
purse of wit, thou pigeon-egg of discretion. O, an
the heavens were so pleased that thou wert but my
bastard, what a joyful father wouldst thou make me!
Go to; thou hast it ad dunghill,
at the fingers' ends, as they say.
HOLOFERNES O, I smell false Latin; dunghill for unguem.
--------------------------------------------------------------------
adv. to perfection; perfectly &c. adj.; ad unguem;
clean, - as a whistle.
"O, I smell false Latin; (a) dunghill for
(ad) unguem."
(ad) unguem n., [NAIL, claw, talon].
(ad) unguen -inis n. [fatty substance , OINTment].
--------------------------------------------------------------------
_At Ymeguen_ [Moonfleet Chapter 17] J. Meade Falkner
<<And so they branded me on the left cheek, setting the iron between the
nose and cheek-bone, where 'twas plainest to be seen. I took the pain
and scorching light enough, seeing that I had looked for much worse, and
should not have made mention of the thing here at all, were it not for
the branding mark they used. Now this mark was a "Y", being the first
letter of Ymeguen, and set on all the prisoners that worked there, as I
found afterwards; but to me 'twas much more than a mere letter, and
nothing less than the black "Y" itself or cross-pall of the Mohunes.>>
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http://home.fireplug.net/~rshand/reflections/messiah/messiah.html
Ancient Traditions of the Messiah.
<<The word 'Messiah' comes from the Hebrew verb 'to anOINT', which
itself is derived from the Egyptian word, 'the holy crocodile'.
It was with the fat of the messeh that the Pharaoh's sister-brides
anointed their husbands on marriage. The Egyptian custom sprang
from kingly practice in old Mesopotamia.>>
- Sir Laurence Gardner, "The Hidden History of Jesus and the Holy Grail"
> --------------------------------------------------------------------
> http://members.aol.com/_ht_a/biblesci/science/index.htm
>
> <<Job 41:1 says, "Can you pull in the leviathan with a fishhook" (NIV).
> This whole chapter describes this terrible sea creature probably a giant
> crocodile.>>
> --------------------------------------------------------------------
<<Cockatrice the mediaeval name (a corruption of "crocodile") of a
fabulous serpent supposed to be produced from a cock's egg. It is
generally supposed to denote the cerastes, or "horned viper," a very
poisonous serpent about a foot long. Others think it to be the yellow
viper (Daboia xanthina), one of the most dangerous vipers, from its size
and its nocturnal habits (Isa. 11:8; 14:29; 59:5; Jer. 8:17; in all
which the Revised Version renders the Hebrew _tziph'oni_ by "basilisk").
In Prov. 23:32 the Hebrew _tzeph'a_ is rendered both in the Authorized
Version and the Revised Version by "adder;" margin of Revised Version
"basilisk," and of Authorized Version "cockatrice.">>
---------------------------------------------------------
THE DICTIONARY OF PHRASE AND FABLE BY E. COBHAM BREWER
Dunghill! Coward! Villain! This is a cockpit phrase; all cocks, except
gamecocks, being called dunghills.
"Out, dunghill! darst thou brave a nobleman?"
Shakespeare: King John, iv 3.
That is, Dare you, a dunghill cock, brave a thoroughbred gamecock?
Dunghill Thou hast it, ad dunghill, at thy fingers' ends. To this
Holofernes replies: "Oh, I smell false Latin; `dunghill' for `unguem.' "
(Shakespeare: Love's Labour's Lost, v. I.)
---------------------------------------------------------
"A Quip for an Upstart Courtier" page 215:
<<"Yet as the peacock wrapped in the pride of his beautious feathers is
known to be but a dunghill bird by his foul feet: so though the high
looks and costly suits argue to the eyes of the world they were
Cavaliers of great worship, yet the churlish illiberality of their
minds, bewrayed their fathers were not above three pounds in the King's
books at a subsidy, but as these *upstart* changelings went strouting
like Philopolimarchides the braggart in Plautus, they looked so proudly
at the same, that they stumbled on a bed of Rue, that grew at the bottom
of the bank where the Time was planted, which fall upon the dew of so
bitter an herb taught them that such proud peacocks as over hastily out
run their fortunes, at last so speedily fall to repentance...">>
---------------------------------------------------------
King John Act 4, Scene 3
BIGOT Out, dunghill! darest thou brave a nobleman?
---------------------------------------------------------
<<We know that by 1552 John Shakespeare was living on the north-eastern
side of town, in Henley Street, thanks to his ignominious debut in the
town records on 29 April: fined a shilling, along with Humphrey Reynolds
and Adrian Quiney, for making an unauthorised dunghill, sterquinarium,
or
midden heap in front of the house of a neighbour, the wheelwright
William
Chambers. In those days of the plague, a fine equivalent to two days'
pay
for an artisan was a suitably stern judgement on those too idle to use
the communal muck-hill at the rural end of the street. In a rare
defiance
of the family tradition (and his own later practice), John Shakespeare
paid his fine promptly.>>
_William Shakespeare: The Man Behind the Genius_ by Anthony Holden
---------------------------------------------------------
29 April
---------------------------------------------------------
1429 - Joan of Arc leads Orleans, France, to victory over English
1540 - Emperor Charles declares all privileges of Gent ended
1550 - Emperor Charles V gives inquisiters additional authority
1607 - The first Anglican (Episcopal) at Cape Henry, Virginia.
1667 - John Arbuthnot, Scottish writer (Alexander Pope) born.
1707 - Parliament accept Act of Union, form Great Britain.
1780 - Charles Nodier French writer (La fＦ aux miettes) born.
1818 - Alexander II, Tsar of Russia (1855-81) born.
---------------------------------------------------------
505 Ulysses saw it, nor had power t' abstain
506 From shedding tears; which (far-off seeing his swain)
507 He dried from his sight clean; to whom he thus
508 His grief dissembled: "'Tis miraculous,
509 That such a dog as this should have his lair
510 On such a dunghill, for his form is fair.
----------------------------------------------------------------
King Henry IV, Part ii Act 5, Scene 3
PISTOL Shall dunghill curs confront the Helicons?
And shall good news be baffled?
Then, Pistol, lay thy head in Furies' lap.
------------------------------------------------------------------
King Lear Act 3, Scene 7
CORNWALL I have received a hurt: follow me, lady.
Turn out that eyeless villain; throw this slave
Upon the dunghill. Regan, I bleed apace:
Untimely comes this hurt: give me your arm.
Act 4, Scene 6
OSWALD Out, dunghill!
------------------------------------------------------------------
King Henry VI, Part i Act 1, Scene 3
GLOUCESTER Who willed you? or whose will stands but mine?
There's none protector of the realm but I.
Break up the gates, I'll be your warrantize.
Shall I be flouted thus by dunghill grooms?
-----------------------------------------------------------------
King Henry VI, Part ii Act 1, Scene 3
YORK Base dunghill villain and mechanical,
I'll have thy head for this thy traitor's speech.
I do beseech your royal majesty,
Let him have all the rigor of the law.
Act 4, Scene 10
IDEN How much thou wrong'st me, heaven be my judge.
Die, damned wretch, the curse of her that bare thee;
And as I thrust thy body in with my sword,
So wish I, I might thrust thy soul to hell.
Hence will I drag thee headlong by the heels
Unto a dunghill which shall be thy grave,
And there cut off thy most ungracious head;
Which I will bear in triumph to the king,
Leaving thy trunk for crows to feed upon.
----------------------------------------------------------------
Art Neuendorffer
Stephanie Caruana
Neuendorffer wrote in message <397F926C...@erols.com>...
>http://members.aol.com/_ht_a/biblesci/science/index.htm
>
><<Behemoth in contrast to the leviathan is a giant land animal, not a
>sea creature. There seems to be a similar animal in a Ugaritic text BH
>called ėgl il ėtk meaning "the ferocious bullock of El" (Pope 1965, 321;
>KTU 1.3 III 44). Another text describes an animal as having horns like
>bulls, humps like buffalo, and the face of Baal (Ibid; KTU 1.12 I
>30-33). This beast may be the same as the Sumerian and Akkadian "bull of
>heaven" who was slain by Gilgamesh and Enkidu in the Gilgamesh Epic
>(Ibid., 322; ANET, 83-85; Heidel 1946, 53-55).
Maybe they are all referring to one of my favorite extinct animals: the
ferocious Aurochs:
As Ency.Brit. puts it:
"AUROCHS, the extinct wild ox of Europe (Bos taurus primigenius), from which
domestic cattle are descended. It was mentioned by Julius Caesar as the
"urus," and, known as "tur", survived in Jaktorow Forest of central Poland
until 1627; engravings after an oil painting of 1500 show its conformation
and color. It was enormous, six feet high at the shoulder, black in color
and with spreading, forwardly curving horns. Skulls and bones of the aurochs
are common in Pleistocene deposits inEngland and on the continent of
Europe."
> The description in Job
>40:21-23 seems to allude to the area around Lake Huleh which was filled
>with buffalo.
[The EB distinguishes the aurochs from the bison.]
> His tail is like a cedar branch that can easily bend or
>sway (Pope think this refers to sexual arousal). This does not mean his
>tail was as long as or as big as a huge cedar tree for verses 21-23 say,
>"Under the lotus plants he lies, hidden among the reeds in the marsh.
>The lotus conceal him in their shadow" (NIV). Reeds and lotus can not
>hide a huge dinosaur.>>
>
> Gilgamesh Epic
>
><<The Epic of Gilgamesh describes the battle with the Bull of Heaven.
>Enkidu seized the Bull by the horns. "The Bull of Heaven foamed in his
>face, it brushed him with the thick of its tailÖ.Gilgamesh followed the
>bull, he seized the thick of his tail, he thrust the sword between the
>nape and the horns and slew the bull" (Sandars 1972, 88; ANET, 85, 505).
>The "thick of his tail" does not mean a dinosaur’s big tail, but the
>tassel at the end of its tail. The Akkadian is ku-bur zib-ba-ti-su,
>meaning "thickness of his tail" (ANET, 505). "It refers to the tassele
>at the end of the tail in contrast to the thin middle part" (Ibid., note
>29). The horns of the bull are plated with lapis two inches thick,
>weighing thirty pounds, and holding 105 gallons each (Heidel, 55). This
>was a huge mythical bull which is associated with the constellation
>Taurus, the bull (Black and Green, 49).
Not so mythical, if you ask me.
Gilgamesh also battles another
>monster called "Huwawa" (Babylonian) or "Humbaba" (Assyrian) who lives
>in the Cedar Forest. Huwawa is described by "his roaring is the
>flood-storm, his mouth is fire, his breath is death" (ANET, 79;
>Jacobsen, 200). This does not mean it breaths fire. This is poetical
>language describing its snort that looks like smoke on a cool morning.>>
>--------------------------------------------------------
In "Guy of Warwick", which I consider to be possibly an early play by
Oxford, the hero, Guy, battles a huge monster called "the Dun Cow," whose
enormous bones, according to the (anonymous) playwright, are still to be
seen in Warwick Castle. This play contains later interpolations which seem
to refer to none other than William Shaksper of Stratford, calling him a
"clown." My thought is that these interpolations were added by Oxford's
son-in-law, Derby, whose travelling troupe of players is known to have
performed this play on tour ink the English countrryside.
Stephanie Caruana
Neuendorffer
<<Leviathan: a transliterated Hebrew word (livyathan), meaning
"twisted,"
"coiled." In Job 3:8, Revised Version, and marg. of Authorized Version,
it
denotes the dragon which, according to Eastern tradition, is an enemy of
light; in 41:1 the crocodile is meant; in Ps. 104:26 it "denotes any
large
animal that moves by writhing or wriggling the body, the whale, the
monsters of the deep." This word is also used figuratively for a cruel
enemy, as some think "the Egyptian host, crushed by the divine power,
and
cast on the shores of the Red Sea" (Ps. 74:14). As used in Isa. 27:1,
"leviathan the piercing [R.V. 'swift'] serpent, even leviathan that
crooked
[R.V. marg. 'winding'] serpent," the word may probably denote the two
empires, the Assyrian and the Babylonian.>>
---------------------------------------------------------------------
Annotations in Edward de Vere's Geneva Bible
by Dave Kathman
http://www.clark.net/tross/ws/oxbib.html#4
Isaiah | 27 | 9 | Part or all of the verse itself is underlined in ink.
---------------------------------------------------------------------
Isaiah 27 (KJV)
27:1 In that day the LORD with his sore and great and strong
sword shall punish LEVIATHAN the piercing serpent, even leviathan
that crooked serpent; and he shall slay the dragon that is in
the sea.
27:2 In that day sing ye unto her, A vineyard of red wine.
27:3 I the LORD do keep it; I will water it every moment:
lest any hurt it, I will keep it night and day.
27:4 Fury is not in me: who would set the briers and thorns against
me in battle? I would go through them, I would burn them together.
27:5 Or let him take hold of my strength, that he may make peace
with me; and he shall make peace with me.
27:6 He shall cause them that come of Jacob to take root: Israel
shall blossom and BUD, and fill the face of the world with fruit.
27:7 Hath he smitten him, as he smote those that smote him? or is
he slain according to the slaughter of them that are slain by him?
27:8 In measure, when it shooteth forth, thou wilt debate with it:
he stayeth his rough wind in the day of the east wind.
27:9 By this therefore shall the iniquity of Jacob be purged; and
this is all the fruit to take away his sin; when he maketh all
the stones of the altar as chalkstones that are beaten in sunder,
the groves and images shall not stand up.
---------------------------------------------------------------------
Isaiah 27 (Vulgate)
27:1 in die illo visitabit Dominus in gladio suo duro et grandi et forti
super Leviathan serpentem vectem et super Leviathan serpentem tortuosum
et occidet cetum qui in mari est
27:2 in die illa vinea meri cantabit ei
27:3 ego Dominus qui servo eam repente propinabo ei ne forte visitetur
contra eam nocte et die servo eam
27:4 indignatio non est mihi quis dabit me spinam et veprem in proelio
gradiar super eam succendam eam pariter
27:5 an potius tenebit fortitudinem meam faciet pacem mihi pacem faciet
mihi
27:6 qui egrediuntur impetu ad Iacob florebit et germinabit Israhel et
implebunt faciem orbis semine
27:7 numquid iuxta plagam percutientis se percussit eum aut sicut
occidit
interfectos eius sic occisus est
27:8 in mensura contra mensuram cum abiecta fuerit iudicabis eam
meditata
est in spiritu suo duro per diem aestus
27:9 idcirco super hoc dimittetur iniquitas domui Iacob et iste omnis
fructus ut auferatur peccatum eius cum posuerit omnes lapides altaris
sicut lapides cineris adlisos non stabunt luci et delubra
---------------------------------------------------------------------
Art Neuendorffer
Neuendorffer
<<Leviathan: a transliterated Hebrew word (livyathan), meaning
"twisted," "coiled." In Job 3:8, Revised Version, and marg. of
Authorized Version, it denotes the dragon which, according to Eastern
tradition, is an enemy of light; in 41:1 the crocodile is meant; in Ps.
104:26 it "denotes any large animal that moves by writhing or wriggling
the body, the whale, the monsters of the deep." This word is also used
figuratively for a cruel enemy, as some think "the Egyptian host,
crushed by the divine power, and cast on the shores of the Red Sea" (Ps.
74:14). As used in Isa. 27:1, "leviathan the piercing [R.V. 'swift']
the word may probably denote the two empires, the Assyrian and the
Babylonian.>>
---------------------------------------------------------------------
Annotations in Edward de Vere's Geneva Bible
by Dave Kathman
http://www.clark.net/tross/ws/oxbib.html#4
Isaiah | 27 | 9 | Part or all of the verse itself is underlined in ink.
---------------------------------------------------------------------
Isaiah 27 (KJV)
27:1 In that day the LORD with his sore and great and strong
sword shall punish LEVIATHAN the piercing serpent, even leviathan
that crooked serpent; and he shall slay the dragon that is in
Neuendorffer
The Merry Wives of Windsor Act 1, Scene 3
PISTOL Then did the sun on dunghill shine.
--------------------------------------------------------------------
<<Job 41:1 says, "Can you pull in the leviathan with a fishhook".
This whole chapter describes this terrible sea creature
probably a giant crocodile.>>
--------------------------------------------------------------------
Romeo and Juliet Act 3, Scene 2
JULIET What devil art thou, that dost torment me thus?
This torture should be roar'd in dismal hell.
Hath Romeo slain himself? say thou but 'I,'
And that bare vowel 'I' shall poison more
Than the death-darting eye of cockatrice:
<<Cockatrice the mediaeval name (a corruption of "crocodile") of a
fabulous serpent supposed to be produced from a cock's egg. It is
generally supposed to denote the cerastes, or "horned viper," a very
poisonous serpent about a foot long. Others think it to be the yellow
viper (Daboia xanthina), one of the most dangerous vipers, from its size
and its nocturnal habits (Isa. 11:8; 14:29; 59:5; Jer. 8:17; in all
which the Revised Version renders the Hebrew _tziph'oni_ by "basilisk").
In Prov. 23:32 the Hebrew _tzeph'a_ is rendered both in the Authorized
Version and the Revised Version by "adder;" margin of Revised Version
"basilisk," and of Authorized Version "cockatrice.">>
King Richard III Act 4, Scene 1
DUCHESS OF YORK O ill-dispersing wind of misery!
O my accursed womb, the bed of death!
A cockatrice hast thou hatch'd to the world,
Whose unavoided eye is murderous.
David L. Webb
the "To," "Cc," and "Newsgroups" headers for details. ]]
Welcome back, Stephanie.
In article <8lpjeu$ouk$1...@slb7.atl.mindspring.net>, Stephanie Caruana
<spear-...@mindspring.com> wrote:
[...]
> In "Guy of Warwick", which I consider to be possibly an early play by
> Oxford,
But Stephanie -- why wouldn't you expect a play about Guy of
*Warwick* to have been written by a native of Warwickshire?
Jesting aside, precisely which treatment of this theme do you
attribute to Oxford, and why do you think that he might have been the
author? I may regret having asked, but I'm curious.
> the hero, Guy, battles a huge monster called "the Dun Cow," whose
> enormous bones, according to the (anonymous) playwright, are still to be
> seen in Warwick Castle. This play contains later interpolations which seem
> to refer to none other than William Shaksper of Stratford, calling him a
> "clown."
Out of curiosity, which interpolations do you mean, and why do they
"seem to refer to none other than William Shaksper of Stratford"? I
may regret having asked, but I'm really curious.
David Webb
Neuendorffer
_Portrait of the Artist_ - J.Joyce
<<Whatever else is unsure in this stinking dunghill of a world...>>
---------------------------------------------------------
Nickolas Nickleby by Charles Dickens
<<No bell or book for me! Throw me on a dunghill,
and let me rot there, to infect the air!'>>
---------------------------------------------------------
Fox's Book of Martyrs ** CHAPTER XV
<<like a butcher he lived, and like a butcher he died,
and lay seven months and more unburied,
and at last like a carrion was buried in a dunghill.>>
> ---------------------------------------------------------
> <<We know that by 1552 John Shakespeare was living on the north-eastern
> side of town, in Henley Street, thanks to his ignominious debut in the
> town records on 29 April: fined a shilling, along with Humphrey Reynolds
> and Adrian Quiney, for making an unauthorised dunghill, sterquinarium,
> or midden heap in front of the house of a neighbour, the wheelwright
> William Chambers. In those days of the plague, a fine equivalent to two
> days' pay for an artisan was a suitably stern judgement on those too
> idle
> to use the communal muck-hill at the rural end of the street. In a rare
> defiance of the family tradition (and his own later practice), John
> Shakespeare paid his fine promptly.>>
>
> _William Shakespeare: The Man Behind the Genius_ by Anthony Holden
> ---------------------------------------------------------
Apocrypha
[The Wisdom of Jesus the Son of Sirach.]
22:2 A slothful man is compared to the filth of a dunghill:
EVERY man that takes it up WILL SHAKE shake his hand.
*******************
The Peacock and the Crane Aesop's Fables
<<A PEACOCK spreading its gorgeous tail mocked a Crane that passed
by, ridiculing the ashen hue of its plumage and saying, "I am
robed, like a king, in gold and purple and all the colors of the
rainbow; while you have not a bit of color on your wings."
"True," replied the Crane; "but I soar to the heights of heaven
and lift up my voice to the stars, while you walk below, like a
cock, among the birds of the dunghill."
Fine feathers don't make fine birds.
*******************
> ---------------------------------------------------------
> "A Quip for an Upstart Courtier" page 215:
>
> <<"Yet as the peacock wrapped in the pride of his beautious feathers is
> known to be but a dunghill bird by his foul feet: so though the high
> looks and costly suits argue to the eyes of the world they were
> Cavaliers of great worship, yet the churlish illiberality of their
> minds, bewrayed their fathers were not above three pounds in the King's
> books at a subsidy, but as these *upstart* changelings went strouting
> like Philopolimarchides the braggart in Plautus, they looked so proudly
> at the same, that they stumbled on a bed of Rue, that grew at the bottom
> of the bank where the Time was planted, which fall upon the dew of so
> bitter an herb taught them that such proud peacocks as over hastily out
> run their fortunes, at last so speedily fall to repentance...">>
> ---------------------------------------------------------
Our Mutual Friend by Charles Dickens
The Treasures of a Dunghill--"'
'Eh? What's that?' demanded Mr Boffin.
'"The Treasures," sir,' repeated Silas,
reading very distinctly, '"of a Dunghill."
---------------------------------------------------------
<<psalmum qui incipit: Lingua mea calamus scribae velociter scribentis:
magna voce cantitans (did a piss, says he was dejected, asks to be
exonerated), demum ex STERCORE turpi cum divi Orionis iucunditate mixto,
cocto, frigorique exposito, encaustum sibi fecit indelibile
(faked O'Ryan's, the indelible ink).>> - Finnegans Wake
---------------------------------------------------------
Psalms 112 Vulgate
1] alleluia laudate servi Dominum laudate nomen Domini
2] sit nomen Domini benedictum amodo et usque in aeternum
3] ab ortu solis usque ad occasum eius laudabile nomen Domini
4] excelsus super omnes gentes Dominus super caelum gloria eius
5] quis ut Dominus Deus noster qui in excelsis habitans
6] humilia respicit in caelo et in terra
7] suscitans de terra inopem et de stercore elevat pauperem
8] ut eum sedere faciat cum principibus cum principibus populi sui
9] qui conlocat sterilem in domo matrem filiorum laetantem alleluia
Psalms 113 King James Version
1 Praise ye the LORD. Praise, O ye servants of the LORD, praise the name
of the LORD.
2 Blessed be the name of the LORD from this time forth and for evermore.
3 From the rising of the sun unto the going down of the same the LORD's
name is to be praised.
4 The LORD is high above all nations, and his glory above the heavens.
5 Who is like unto the LORD our God, who dwelleth on high,
6 Who humbleth himself to behold the things that are in heaven, and in
the earth!
7 He raiseth up the poor out of the dust, and lifteth the needy out of
the dunghill;
8 That he may set him with princes, even with the princes of his people.
9 He maketh the barren woman to keep house, and to be a joyful mother of
children. Praise ye the LORD.
---------------------------------------------------------
Pilgrim's Progress - John Bunyan
<<Then he said, since I have nothing to bequeath to any, to what purpose
should I make a will? As for my feeble mind, that I will leave behind
me, for that I shall have no need of it in the place whither I go, nor
is it worth bestowing upon the poorest pilgrims: wherefore, when I am
gone, I desire that you, Mr. Valiant, would bury it in a dunghill.>>
<<I was a dreaming last night that I saw him. O that my soul was with
him! He dwelleth in the presence of the King of the country; he sits and
eats with him at his table; he is become a companion of immortals, and
has a house now given him to dwell in, to which the best palace on
earth, if compared, seems to me but a dunghill. 2 Cor. 5:1-4.>>
<<They, moreover, gave an instance of what they affirmed; and that was,
he had stripped himself of his glory that he might do this for the poor;
and that they heard him say and affirm, that he would not dwell in the
mountain of Zion alone. They said, moreover, that he had made many
pilgrims princes, though by nature they were beggars born, and their
original had been the dunghill. 1 Sam. 2:8; Psa. 113:7.>>
1 SAMUEL
2:8 He raiseth up the poor out of the dust, and lifteth up the
beggar from the dunghill, to set them among princes, and to
make them inherit the throne of glory: for the pillars of the
earth are the LORD's, and he hath set the world upon them.
EZRA
6:11) Also I have made a decree, that whosoever shall alter this
word, let timber be pulled down from his house, and being set
up, let him be hanged thereon; and let his house be made a
dunghill for this.
ISAIAH
25:10) For in this mountain shall the hand of the LORD rest, and Moab
shall be trodden down under him, even as straw is trodden down
for the dunghill.
DANIEL
2:5) The king answered and said to the Chaldeans, The thing is gone
from me: if ye will not make known unto me the dream, with the
interpretation thereof, ye shall be cut in pieces, and your
houses shall be made a dunghill.
DANIEL
3:29) Therefore I make a decree, That every people, nation, and
language, which speak any thing amiss against the God of
Shadrach, Meshach, and Abednego, shall be cut in pieces, and
their houses shall be made a dunghill: because there is no
other God that can deliver after this sort.
LUKE
14:33) So likewise, whosoever he be of you that forsaketh not all
that he hath, he cannot be my disciple.
14:34) Salt is good: but if the salt have lost his savour, wherewith
shall it be seasoned?
14:35) It is neither fit for the land, nor yet for the dunghill; but
men cast it out. He that hath ears to hear, let him hear.
---------------------------------------------------------
Selected Essays - Montaigne
<<Experience is properly upon its own dunghill in the subject of physic,
where reason wholly gives it place:>>
<<My house, as one that has ever been open
and free to all comers, and civil to all (for I could never persuade
myself to make it a garrison of war, war being a thing that I prefer
to see as remote as may be), has sufficiently merited popular
kindness, and so that it would be a hard matter justly
to insult over me upon my own dunghill;>>
---------------------------------------------------------
Memoirs of Extraordinary Popular Delusions - Charles MacKay
** ( DUELS AND ORDEALS )
<<Two dogs who tear each other for a bone, or two bantams
fighting on a dunghill for the love of some beautiful hen, or two
fools on Wimbledon Common, shooting at each other to satisfy the laws
of offended honour, stand on the same footing in this respect, and
are, each and all, mere duellists.>>
---------------------------------------------------------
Martin Chuzzlewit by Charles Dickens
<<Indeed, as Martin walked behind him to the bar-room, he
could not help thinking that the great square major, in his
listlessness and langour, looked very much like a stale weed himself;
such as might be hoed out of the public garden, with great advantage
to the decent growth of that preserve, and tossed on some congenial
dunghill.>>
---------------------------------------------------------
Les Miserables by Victor Hugo
<<The gamin called her Mademoiselle Muche--"hide yourself."
This being bawls and scoffs and ridicules and fights, has rags
like a baby and tatters like a philosopher, fishes in the sewer,
hunts in the cesspool, extracts mirth from foulness, whips up the
squares with his wit, grins and bites, whistles and sings, shouts,
and shrieks, tempers Alleluia with Matantur-lurette, chants every rhythm
from the De Profundis to the Jack-pudding, finds without seeking,
knows what he is ignorant of, is a Spartan to the point of thieving,
is mad to wisdom, is lyrical to filth, would crouch down on Olympus,
wallows in the dunghill and emerges from it covered with stars.>>
---------------------------------------------------------
Every Man in His Humour - Ben Jonson
C: Your brother deliuered us as much.
E: Who Guiliano?
C: Guiliano? Signior Prospero, I know not in what kinde
you value me, but let me tell you this: as sure as God I do hold
it so much out of mine honor and reputation, if I should but cast
the least regard upon such a dunghill of flesh; I protest to you
(as I have a soule to be saued) I never saw any gentlemanlike
part in him: if there were no more men liuing upon the face
of the earth, I should not fancie him by Pho ebus.
J: Troth nor, he is of a rusticall cut, I know not how:
he doth not carrie himselfe like a gentleman.
---------------------------------------------------------
Easton Bible Dictionary
* Madmenah *
ibid., a town in Benjamin, not far from Jerusalem, towards the
north (Isa. 10:31). The same Hebrew word occurs in Isa. 25:10,
where it is rendered "dunghill." This verse has, however, been
interpreted as meaning "that Moab will be trodden down by
Jehovah as teben [broken straw] is trodden to fragments on the
threshing-floors of Madmenah."
---------------------------------------------------------------
DON QUIXOTE OF LA MANCHA'S LETTER TO SANCHO PANZA,
GOVERNOR OF THE ISLAND OF BARATARIA.
<<When I was expecting to hear of thy stupidities and blunders, friend
Sancho, I have received intelligence of thy displays of good sense,
for which I give special thanks to heaven that can raise the poor from
the dunghill and of fools to make wise men.>>
<<I found him so wrapped up in that of poetry (if that
can be called a science) that there is no getting him to take kindly
to the law, which I wished him to study, or to theology, the queen
of them all. I would like him to be an honour to his family, as we
live in days when our kings liberally reward learning that is virtuous
and worthy; for learning without virtue is a pearl on a dunghill.>>
<<"These squires," returned Dona Rodriguez, "are always our enemies;
and as they are the haunting spirits of the antechambers and watch
us at every step, whenever they are not saying their prayers (and
that's often enough) they spend their time in tattling about us,
digging up our bones and burying our good name. But I can tell these
walking blocks that we will live in spite of them, and in great houses
too, though we die of hunger and cover our flesh, be it delicate or
not, with widow's weeds, as one covers or hides a dunghill on a
procession day. By my faith, if it were permitted me and time allowed,>>
---------------------------------------------------------
Decline and Fall of the Roman Empire - Gibbon
<<This spectacle of the world, how is it fallen! how changed! how
defaced! The path of victory is obliterated by vines,
and the benches of the senators are concealed by a dunghill.>>
---------------------------------------------------------
David Copperfield by Charles Dickens CHAPTER 13
<<My hat (which had served me for a night-cap, too) was so
crushed and bent, that no old battered handleless saucepan
on a dunghill need have been ashamed to vie with it.>>
---------------------------------------------------------
Danish History - Vol I-IX - Saxo Grammaticus
"The cock (Hane) fights better on its own dunghill"
---------------------------------------------------------
Canterbury Tales - Chaucer ( THE PARSON'S TALE )
<< holy writ cannot be defiled, any more than can
the sun that shines upon the dunghill.>>
---------------------------------------------------------
Aristophanes - 12 Plays ** ( THE CLOUDS )
PHIDIPPIDES Was not the legislator who carried this law a man like
you and me? In those days be got men to believe him; then why should not
I too have the right to establish for the future a new law, allowing
children to beat their fathers in turn? We make you a present of all
the blows which were before his law, and admit that you
thrashed us with impunity. But look how the cocks and other animals
fight with their fathers; and yet what difference is there betwixt
them and ourselves, unless it be that they do not propose decrees?
STREPSIADES But if you imitate the cocks in all things, why don't you
scratch up the dunghill, why don't you sleep on a perch?
PHIDIPPIDES That has no bearing on the case, good sir; Socrates would
find no connection, I assure you.
---------------------------------------------------------
Candide by Voltaire ** ( CHAPTER 22 )
<<"In a country town we take them to a tavern; here in Paris, they are
treated with great respect during their lifetime, provided they are
handsome, and when they die we throw their bodies upon a dunghill."
"How?" said Candide, "throw a queen's body upon a dunghill!">>
---------------------------------------------------------
Count of Monte Cristo - Dumas ** ( Chapter 52 )
<<So, then, the rabbit dies, and justice takes no notice.
This rabbit dead, the Abbe Adelmonte has its entrails taken out
by his cook and thrown on the dunghill; on this dunghill is
a hen, who, pecking these intestines, is in her turn taken
ill, and dies next day. At the moment when she is struggling
in the convulsions of death, a vulture is flying by (there
are a good many vultures in Adelmonte's country); this bird
darts on the dead fowl, and carries it away to a rock, where
it dines off its prey. Three days afterwards, this poor
vulture, which has been very much indisposed since that
dinner, suddenly feels very giddy while flying aloft in the
clouds, and falls heavily into a fish-pond. The pike, eels,
and carp eat greedily always, as everybody knows -- well,
they feast on the vulture. Now suppose that next day, one of
these eels, or pike, or carp, poisoned at the fourth remove,
is served up at your table. Well, then, your guest will be
poisoned at the fifth remove, and die, at the end of eight
or ten days, of pains in the intestines, sickness, or
abscess of the pylorus. The doctors open the body and say
with an air of profound learning, `The subject his died of a
tumor on the liver, or of typhoid fever!'"
"But," remarked Madame de Villefort, "all these
circumstances which you link thus to one another may be
broken by the least accident; the vulture may not see the
fowl, or may fall a hundred yards from the fish-pond."
"Ah, that is where the art comes in. To be a great chemist
in the East, one must direct chance; and this is to be
achieved.">>
---------------------------------------------------------
Art Neuendorffer
Greg Reynolds
Art, you left out KC & The Sunshine Band:
(Shake, Shake, Shake) Shake Your Booty
KC & The Sunshine Band
(Casey/Finch)
Ah, everybody get on the floor, let's dance
Don't fight the feeling give yourself a chance
Shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty
Oh, shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty
Oh, you can, you can do well, very well
Your love can stand the world, I can tell
Oh, shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty
Oh, shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty, wow wow, yeah!
Shake, shake, shake, shake
Oh, shake, shake, shake, shake
Oh, shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty
Oh, shake, shake, shake - shake, shake, shake
Shake your booty, shake your booty
Oh, shake, shake, shake, shake
Shake your booty, oh don't fight the feeling
Shake, shake, shake, shake
Shake your booty, oh give yourself a chance
Shake, shake, shake, shake
Shake your booty, you can do it, do it
Shake, shake, shake, shake
Shake your booty, come and love me now
Shake, shake, shake, shake
Shake your booty, ooh ooh huh
Shake, shake, shake, shake
Shake your booty, oh come on now sister
Shake, shake come on and shake, shake come on
Your booty do your duty ah hah .....
Neuendorffer
Greg Reynolds wrote:
> Art, you left out KC & The Sunshine Band:
>
> (Shake, Shake, Shake) Shake Your Booty
> KC & The Sunshine Band
---------------------------------------------------------
Canterbury Tales - Chaucer ( THE PARSON'S TALE )
<< holy writ cannot be defiled, any more than can
the sun that shines upon the dunghill.>>
Art N.
David L. Webb
(ph...@errors.comedy) <ph...@erols.com> wrote:
> ---------------------------------------------------------
> _Portrait of the Artist_ - J.Joyce
>
> <<Whatever else is unsure in this stinking dunghill of a world...>>
> ---------------------------------------------------------
> Nickolas Nickleby by Charles Dickens
>
> <<No bell or book for me! Throw me on a dunghill,
> and let me rot there, to infect the air!'>>
> ---------------------------------------------------------
> Fox's Book of Martyrs ** CHAPTER XV
>
> <<like a butcher he lived, and like a butcher he died,
> and lay seven months and more unburied,
> and at last like a carrion was buried in a dunghill.>>
> > ---------------------------------------------------------
[The rest of a very lengthy post, consisting of quotations unrelated to
one another apart from the occurrence of the word "dunghill" in each,
deleted]
Have you been reading about Russell's Paradox or studying Gödel's
Theorem, Art? This is perhaps your most self-referential post EVER.
David Webb
Neuendorffer
Annibale Carracci: The Butcher's Shop
http://www.chch.ox.ac.uk/~grossel/chch/gallery/painters/carracci.html
<<The largest and most famous painting in the collection, dated
c.1582-83 and a early work by the artist. This was the first time a
modest genre subject was treated on such a monumental scale and was
possibly commissioned by the owners of a meat market. The butchers are
probably portraits of the artist and his brother Agostino and cousin
Ludovico, also painters. The Carracci were reformers of Italian art at
the end of the sixteenth century, advocating a return to classicism
while rejecting the still prevalent Mannerist style in painting. It is
possible that this work is an allegory of these aims, which involved
drawing from the live model, or viva carne, which means both "living
flesh" and "red meat" in Italian.>>
The propaganda value of "realistic" butchers:
------------------------------------------------------------
Early and High Baroque in Italy
http://www.britannica.com/bcom/eb/article/printable/5/0,5722,115375,00.html
By the last decades of the 16th century the Mannerist style had ceased
to be an effective means of expression. Indeed, in Florence a conscious
reassessment of High Renaissance painting had taken place as early as
mid-century. This tendency gathered momentum in the last decades of
the century, particularly with the Bolognese painters Lodovico Carracci
and his cousin Annibale. The Roman Catholic Church's reaction to the
Reformation, known as the Counter-Reformation, reaffirmed the old
medieval concept of art as the servant of the church, adding specific
demands for simplicity, intelligibility, realism, and an emotional
stimulus to piety. For the zealots of the Counter-Reformation, works of
art had value only as propaganda material, the subject matter being all
important; and in Rome there was as a result a sharp decline in artistic
quality. Under austere Counter-Reformation popes such as Paul IV and
Pius V, most official patronage favoured the dry and prosaic; this late
16th-century style is best called Counter-Reformation Realist. A similar
process took place in Florence, where a strong movement away from
Mannerist conventions is seen in the paintings of Ludovico Cigoli, and
in Milan, where the dominant artistic personalities were the painters
Giovanni Crespi (known as Il Cerano) and Pier Francesco Mazzucchelli,
known as Il Morazzone.
------------------------------------------------------------
ANNIBALE CARRACCI
http://www.televisual.net/uffizi/a_carrac.html
http://www.artehistoria.com/genios/cuadros/1033.htm
<<Together with his brothers Agostino and Ludovico, Annibale (1560-1609)
was one of Bologna's leading artists of the sixteenth and seventeenth
centuries. He was careful to portray realism in his works, and painted
both religious themes ("Crucifix" in the Bolognese church of San Nicolò,
"Baptism of Christ" in St. Gregory's and "St. John in the desert" at the
National Gallery in London), and mythological themes (his decoration of
the Farnese Palace in Rome with the "Triumph of Bacchus and Ariadne",
"Venus and Adonis" at the Prado, and "Hercules at the crossroads" in the
Capodimonte Gallery, Naples), as well as scenes from everyday life, like
"The bean-eater" at the Colonna Gallery in Rome, and "The butcher's
shop" at Christ Church in Oxford. "Venus, satyr and cupids" at the
Uffizi shows definite hints of Titian's style in the portrayal of
bodies, especially in the goddess seen from behind, her candid body
creating a strong contrast with the darkness of the scene behind.
The richness of detail, for example the elaborate hair-style, jewels and
furnishings are typical of Venetian painting, but are also present in
many portraits by Flemish artists.
------------------------------------------------------------
Carracci
http://metalab.unc.edu/wm/paint/auth/carracci/
<<Family of Bolognese painters, the brothers Agostino (1557-1602) and
Annibale (1560-1609) and their cousin Ludovico (1555-1619), who were
prominent figures at the end of the 16th century in the movement against
the prevailing Mannerist artificiality of Italian painting.
They worked together early in their careers, and it is not easy to
distinguish their shares in, for example, the cycle of frescos in the
Palazzo Fava in Bologna (c.1583-84). In the early 1580s they opened a
private teaching academy, which soon became a center for progressive
art. It was originally called the Accademia dei Desiderosi (`Desiderosi'
meaning `desirous of fame and learning'), but later changed its name to
Academia degli Incamminati (Academy of the Progressives). In their
teaching they laid special emphasis on drawing from the life (all three
were outstanding graphic artists) and clear draughtsmanship became a
quality particularly associated with artists of the Bolognese School,
notably Domenichino and Reni, two of the leading members of the
following generation who trained with the Carracci.
They continued working in close relationship until 1595, when Annibale,
who was by far the greatest artist of the family, was called to Rome by
Cardinal Odoardo Farnese to carry out his masterpiece, the decoration of
the Farnese Gallery in the cardinal's family palace. He first decorated
a small room called the Camerino with stories of Hercules, and in 1597
undertook the ceiling of the larger gallery, where the theme was The
Loves of the Gods, or, as Bellori described it, `human love governed by
Celestial love'. Although the ceiling is rich in the interplay of
various illusionistic elements, it retains fundamentally the
self-contained and unambiguous character of High Renaissance decoration,
drawing inspiration from Michelangelo's Sistine Ceiling and Raphael's
frescos in the Vatican Loggie and the Farnesina. The full untrammelled
stream of Baroque illusionism was still to come in the work of Cortona
and Lanfranco, but Annibale's decoration was one of the foundations of
their style. Throughout the 17th and 18th centuries the Farnese Ceiling
was ranked alongside the Sistine Ceiling and Raphael's frescos in the
Vatican Stanze as one of the supreme masterpieces of painting. It was
enormously influential, not only as a pattern book of heroic figure
design, but also as a model of technical procedure; Annibale made
hundreds of drawings for the ceiling, and until the age of Romanticism
such elaborate preparatory work became accepted as a fundamental part of
composing any ambitious history painting. In this sense, Annibale
exercised a more profound influence than his great contemporary
Caravaggio, for the latter never worked in fresco, which was still
regarded as the greatest test of a painter's ability and the most
suitable vehicle for painting in the Grand Manner.
Annibale's other works in Rome also had great significance in the
history of painting. Pictures such as Domine, Quo Vadis? (National
Gallery, London, c.1602) reveal a striking economy in figure composition
and a force and precision of gesture that had a profound influence on
Poussin and through him on the whole language of gesture in painting. He
developed landscape painting along similar lines, and is regarded as the
father of ideal landscape, in which he was followed by Domenichino (his
favorite pupil), Claude, and Poussin. The Flight into Egypt (Doria
Gallery, Rome, c.1604) is Annibale's masterpiece in this genre. In his
last years Annibale was overcome by melancholia and gave up painting
almost entirely after 1606. When he died he was buried accordingly to
his wished near Raphael in the Pantheon. It is a measure of his
achievement that artists as great and diverse as Bernini, Poussin and
Rubens found so much to admire and praise in his work. Annibale's art
also had a less formal side that comes out in his caricatures (he is
generally credited with inventing the form) and in his early genre
paintings, which are remarkable for their lively observation and free
handling (The Butcher's Shop, Christ Church, Oxford).>>
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Art Neuendorffer