Dear Zazie, I just now found the note you left sayin’ you were sick. Well I care and I hope you are feelin’ better! And Mac Tag is usin’ carin’ as the theme for today’s Lovers’ Chronicle. Follow us on twitter @cowboycoleridge. Who do you care about? Who cares about you? Rhett
The Lovers’ Chronicle
Dear Muse,
© copyright 2020 mac tag/cowboy coleridge all rights reserved
© copyright 2019 mac tag/cowboy coleridge all rights reserved
i know
and you know
shall we leave
the worst behind
for what it was
and take the trail
that lies ahead
for what it will be
only this matters
there has been
one constant
since that day
through the years
and over distance
even through
other loves
that faded away
because
what was meant to be
has not yet been
because
what began that day
has been waitin’
to be fulfilled
and the time is at hand
© copyright 2018 mac tag/cowboy coleridge all rights reserved
i god Marina
talk about sorrow
got nothin’ on you
wish i coulda known ya
not that i am arrogant
enough to think
i coulda helped
i just know
that those in sorrow
need all the friends they can git
and special thanks
to Zazie, my beautiful
Carolina friend
for sharin’ your sorrow
hope my words helped
not a man of constant sorrow
but of often enough sorrow
to have seen it all
and to realize
there is but one course
© copyright 2017 mac tag/cowboy Coleridge all rights reserved
Who Really Cares
Who really cares, you ask
Well I care, so take my hand
Let me release you from the struggle
Let me lead you to the field of dreams
I will keep away the agents of despair
I will keep away thrown together prose
© copyright 2012 mac tag/cowboy Coleridge all rights reserved
The Song of the Day is “Who Really Cares” by Powderfinger
portrayed in a 1917 etching
by Emil Orlik
Today is the birthday of Max Slevogt (Landshut, Germany 8 October 1868 – 20 September 1932 Leinsweiler, Bavaria, Germany); Impressionist painter and illustrator, perhaps best known for his landscapes. He was, together with Lovis Corinth and Max Liebermann, one of the foremost representatives in Germany of the plein air style.
He studied at the Munich Academy, and his early paintings are dark in tone, exemplifying the prevailing style in Munich. In 1889 Slevogt visited Paris, where he attended the Académie Julian. In 1896, he drew caricatures for the magazines Simplicissimus and Jugend, and the next year he had his first solo exhibition in Vienna.
Toward the end of the 1890s his palette brightened. He travelled again to Paris in 1900, where he was represented in the German pavilion of the world exhibition with the work Scheherezade, and was greatly impressed by the paintings of Édouard Manet. In 1901 he joined the Berlin Secession.
A trip to Egypt in 1914 resulted in 21 oil paintings in a fresh bright style, as well as numerous watercolors and drawings; on the return journey he stopped off in Italy. In June he acquired the country seat Neukastel. After the outbreak of World War I he was sent as official war painter to the western front. The war experience brought about a search for new style appropriate to the expression of the horrors of war. In the same year he became a member of the Prussian Academy of Arts in Berlin.
He designed scenery for the performance of Mozart’s Don Giovanni in the Dresdner state opera in 1924. His work was part of the painting event in the art competition at the 1928 Summer Olympics. In 1929 he was given a large 60th birthday exhibition in the Prussian academy of the arts in Berlin. During the last year of his life he worked on the religious mural Golgatha in the peace church in Ludwigshafen on the Rhine. It was destroyed by bombing raids during World War II.
He is buried in the burial place of the family Finkler east of his house, the so-called Slevogthof (with wall paintings) at Neukastel.
Gallery
« Danse avec la Mort » (1896)
Portrait of the Dancer Anna Pavlova
by Harold Cazneaux ca. 1935
Today is the birthday of Hans Heysen (Hamburg; 8 October 1877 – 2 July 1968 near Hahndorf in the Adelaide Hills, Australia); artist. He became a household name for his watercolours of monumental Australian gum trees. Heysen also produced images of men and animals toiling in the Australian bush, as well as groundbreaking depictions of arid landscapes in the Flinders Ranges. He won the Wynne Prize for landscape painting a record nine times.
Heysen married Selma Bartels (1878–1962) on 15 December 1904.
Gallery
SALLIE (the artist’s wife) 1913
Droving into the Light, 1914-21, Art Gallery of South Australia
The Way Home 1908
| Marina Tsvetaeva | |
|---|---|
Tsvetaeva in 1925
|
Today is the birthday of Marina Ivanovna Tsvetaeva (Moscow 8 October – 31 August 1941 Yelabuga, Tatar ASSR, USSR); poet. In my opinion, her verse is among the greatest in twentieth century Russian literature. She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it. Tsvetaeva left Russia in 1922 and lived with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Her husband Sergei Efron was arrested on espionage charges in 1941 and executed. Tsvetaeva committed suicide in 1941. As a lyrical poet, her passion and linguistic experimentation mark her as an important chronicler of her times and the depths of the human condition.
Verse
I Know the Truth
I know the truth – give up all other truths!
No need for people anywhere on earth to struggle.
Look – it is evening, look, it is nearly night:
what do you speak of, poets, lovers, generals?
The wind is level now, the earth is wet with dew,
the storm of stars in the sky will turn to quiet.
And soon all of us will sleep under the earth, we
who never let each other sleep above it.
“I know the truth” Tsvetaeva (1915).
Trans. by Elaine Feinstein
Amidst the dust of bookshops, wide dispersed
And never purchased there by anyone,
Yet similar to precious wines, my verse can wait
Its time will come.
But as I ran,
Faith herself
Grabbed me by the hair with her heavy hand
(Juvenilia)
We are sure to end up in hell,
O my ardent sisters.
(November 1915, a poem about lawless women)
Their hands I will not sunder,
I would rather
I would rather
Blaze in scorching flames in hell!
(Evening Album)
tin in the sky
marks the fated place we
move to, he and I
The House at Old Pimen, ch. 2 (1934).
- Freedom! A wanton slut on a profligate’s breast!
- You came out of a severe, well-proportioned church (1917).
There are books so alive that you’re always afraid that while you weren’t reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?
Pushkin and Pugachev (1937)
A deception that elevates us is dearer than a host of low truths.
Pushkin and Pugachev (1937).
Mac Tag
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