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Below are the 20 most recent journal entries recorded in Byzantine Spy's LiveJournal:

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    Monday, March 24th, 2014
    8:22 pm
    Rusalka; Italian Futurism; Theodor Storm
    Since I last posted I've been leading a normal, humdrum life full mostly of working, hanging out with friends, watching movies, and taking trips to NYC with the boyfriend.

    I had a low-key, 40 hours-a-week project that last from January until last week, composed of a good group of attorneys but with a mind-numbingly dull subject matter involving the investigation of accounting practices.

    On our trip to NYC in February we saw a couple of operas at Lincoln Center. The first, Borodin's Prince Igor, didn't leave much of an impression, but I was blown away be the second, Dvorak's Rusalka, starring Renne Fleming, with its abundance of tuneful arias and beautiful sets.

     photo Rusalka-Fleming_zpsb6d44779.jpg

    On our next trip, which was just earlier this month, we didn't see any operas but instead saw several museum exhibits. The most impressive was the Guggenheim's on Italian Futurism, featuring the likes of Boccioni, Balla, Depero. While I'm not a fan of their pro-war, pro-Fascist, or pro-violence stances, I do love their flare for vivid colors and propulsive energy.

     photo ex_depero_Skyscrapers-and-Tunnels_1024_zps20f04453.jpg

    The Neue Gallerie nearby had an exhibit juxtaposing the modern art Nazis deemed "entarte" (degenerate) -- including works by Emil Nolde and Max Beckmann -- versus what they upheld -- most notably Adolf Ziegler and Adolf Wissel. And the New York Historical Society had an exhibit on the fashion photographer Bill Cunningham's "Facades," a series of photos in which he took pictures of his friend Editta Sherman wearing period clothes in front of buildings that matched the clothes' era.

    Somewhere along the way I finished a side project of mine, which was to translate the 19th century German writer Theodor Storm's fairy tales. It was a worthwhile project, although I wouldn't call the tales masterpieces. Their strength is in sometimes being able to vividly describe a dramatic scene, but they are otherwise peddling simplistic morals -- treat others as you want to be treated, etc.

    Current Mood: relaxed
    Monday, August 12th, 2013
    1:31 am
    Too Many Performances...
    One thing I like to do on here from time to time is mention artistic performances I attend. I noticed the last time I did this was back at the end of March, so I've fallen way behind in my updating. There are so many things I've seen and heard since then, it's a bit daunting, but since I keep track of everything I do on my calendar I'll use that to briefly mention everything I can.

     photo cameron-carpenter-tank-top_zpsde2c805f.jpg

    On April 12th I went to the Strathmore Music Center to hear Cameron Carpenter (pictured above), a flamboyant virtuoso pipe organ performer play with his electric organ. He is in my mind what classical music should be trying to do in that he's trying to get out of its rigid formalities. He came on stage wearing sparkling black pants and a silk shirt, performing incredibly complex music, one piece after another, while spewing all sorts of opinions about music, sex, the organ, and religion. There was a part of him that came across as a bit of a blowhard, but if that is the price to pay for being so daringly unconventional so beat it.

    On April 19th I saw the Shakespeare Theatre Company perform Coriolanus, about the Roman military general who betrayed his country rather than submit to pandering to the plebs. It was stunningly executed and emotionally powerful. Which is more than I can say about the same theatre's performance of Schiller's Wallenstein on April 24th. The original play is something like ten hours long and is meant to be performed over the course of a few days. The STC had a writer edit it down two a couple of hours and add a bunch of monologues for Wallenstein that in effect dumbed it down and spoon-fed the plays themes to the audience, which I found offensive and disappointing.

    On May 4th I went to the Sitar Center to see the group Noonta give a performance of Indian classical music and dance. My friend R. was part of the performance, playing drums and keyboard and singing. It's hard for me to judge this kind of stuff because I have had so little exposure to it and can't really say how it compares to similar performances, but it was generally enjoyable. The music had a generally free-flowing quality to it, swelling at points of greater importance before dying down again.

    Later in May the Library of Congress gave a series of performances of works by the composer John Adams. Adams himself was there to preside over the concerts. On May 22nd the Attacca Quartet performed his string quartet, and on May 24th the International Contemporary Ensemble performed his Son of Chamber Symphony. These were really great performances, given with a lot of skill and emotional energy.

    On May 30th the National Symphony Orchestra performed Adams' new piece Noir City, with Adams himself conducting. I had high hopes for this, considering that I'm a huge fan of both Adams and film noir, but I came away really disappointed. Although it featured a huge orchestra and strived to be intense for most of its duration, it didn't really have any themes to focus on and had a kind of bland sameness of intensity throughout. Plus, there was a lot happening in the orchestra throughout and it seemed that a lot of it was lost in the commotion; for example, there was a huge selection of tuned gongs, but at no point could I hear any of them among the ding of other instruments.

    I went to a couple of other National Symphony performances. On June 6th I heard them perform Prokofiev's Alexander Nevsky, which left me oddly cold; I used to be a fan of this piece, but when I heard it here it felt like ridiculous Russian propaganda, which of course it also was. On June 13th I heard them perform Dutilleux's Tout un monde lointain, which also didn't excite me. I'm a fan of Dutilleux's symphonies, but a lot of his other works just seem dreary and less focused.

     photo 26323_10151492969336286_642910185_n_zpsd86ab950.jpg

    July was pretty quiet, and August promises to be likewise, although this past Friday I saw Scena perform Oscar Wilde's Salome (pictured above) at the Atlas Theatre on H Street. I've seen many different performances of Salome, including as a movie and as Richard Strauss' opera, so I'm pretty familiar with it. Scena is basically a community theatre group, so I didn't have high expectations of them. What I can say is that it was done rather abstractly, with a bare-bones stage featuring no props and the actors wearing 1920s-style formal wear and mask-like white-painted faces. Much of the acting was very abstractly given, with a certain formal flatness to the delivery, which came across as a bit jarring and deprived much of the emotional immediacy of the proceedings. However, in spite of that, the actors who performed Herod and Salome, Brian Hemmingsen and Irina Koval respectively, were very good.
    Friday, March 29th, 2013
    6:45 pm
    Concerts: Rachmaninoff's Vespers; Nordic Cool with Sibelius, Grieg, Vilmarsson, etc.
    I have been working on a huge, finance-related case, which has been eating away most of my free time. However, every once in a while I've been able to attend a concert. One was in February, when my good friend A--- took me to the National Cathedral to hear the Cathedral Choral Society perform Rachmaninoff's Vespers, a work that was too austere for my tastes.

    But then the Kennedy Center hosted its Nordic Cool Festival, celebrating the performing arts from Norway, Sweden, Finland, Denmark, and Iceland. At the beginning of March the National Symphony, led by Eschenbach, performed Sibelius' Night Ride and Sunrise, Lindberg's Violin Concerto, Saariaho's Orion, and Sibelius' Symphony No. 7. Pekka Kuusisto played the violin. I had gone for the Sibelius works but made a point of giving Lindberg and Saariaho another try, since they seem to be so respected among contemporary classical music aficionados, but their works continued to leave me cold.

    A week later I heard the Iceland Symphony Orchestra perform Thorvaldsdottir's AERIALITY, Grieg's Piano Concerto, Vilmarsson's bd, and Sibelius' Lemminkäinen Suite. The first piece was a typically boring, creepy contemporary work that made me wish I had been listening to Lutoslawski instead. The Grieg piece, played by Garrick Ohlsson on the piano, just completely, completely blew me away, so that by the time we were at the last movement I was in tears. Vilmarsson, who I can't find on either iTunes or Spotify, was commissioned to write his piece specially for this concert, and it turned out to be surprisingly clever and playful for a contemporary work. Out of all the works performed, it turned out that the Sibelius suite was the most boring; with the exception of The Swan of Tuonela, it seemed to lack direction and often fell on various tropes that Sibelius used a great deal to better effect in other works.
    Friday, November 9th, 2012
    1:07 am
    Notes on the 2012 Election
    The 2012 election never really caught my attention, partly because all along I felt pretty confident about Obama's ability to win re-election. Back during the primaries the pool of Republican candidates was really bad, and it was apparent that Republicans were not in love with Romney and were voting for him only because they saw him as their best shot at beating Obama. But Romney was not as good a campaigner and, in my mind, was ultimately exactly the wrong candidate for this election. Considering that our recession was caused by the collective failure of the banking industry to act ethically, the last person we needed to actually run the country was another plutocrat.

    The biggest surprise of this election was that the Democrats managed to retain control of the Senate. If you asked anyone a year ago whether that could happen, most people would say no, the odds were stacked so high against them. I remember thinking that the only way the Democrats could retain control would be if Republicans picked a slew of really terrible candidates like they did back in 2010. And lo and behold, that's exactly what they did. The most particularly disgraceful were the Republican candidates from Indiana and Missouri who made ignorant, insensitive, and offensive comments about rape and pregnancy.

    What made me happiest was to see all the advances we made in terms of gay rights. For the first time, three states voted on the ballot to approve same sex marriage. A ballot measure to ban same sex marriage failed in Minnesota. And Tammy Baldwin became the first out U.S. senator. This is a huge change of attitude from 2004, when same sex marriage bans were perceived as a means to get out conservative votes.

    Post-election there has been a lot of talk about how the demographics are working against Republicans. The country is becoming less white, and Republicans have not had success winning the votes of blacks, Hispanics, and Asians. And of course, they have some issues with women and the LGBT community. I'm hoping that as this country becomes ever more heterogeneous Republicans realize that they can no longer win elections with bigotry.
    Sunday, April 22nd, 2012
    11:19 pm
    O'Neill's Strange Interlude
    On Saturday my boyfriend and I went to the Shakespeare Theater Company to see Eugene O'Neill's play Strange Interlude, which follows the lives of four characters over the period of 25 years. Nina obsesses over her husband, who died in WWI, and is persuaded to marry Sam, even though she doesn't love him, and ends up having an affair with Ned while Charlie pines impotently for her. She carries Ned's son but decides to treat it as if it's Sam's. The play premiered in 1928 and was notorious mostly for its characters' sense of morality, but it was also considered a modernist experiment for having its characters always tell the audience what they're thinking, which at times is at direct opposition to what they tell each other. These days it doesn't seem all that special; in many ways it reminds of Sartre's existentialist fiction, where the characters' philosophical perspectives seem to change with the movements of the wind. The version of the play that we saw ran a little under four hours, which was perhaps at least an hour too long.

    Current Mood: productive
    Sunday, December 11th, 2011
    10:50 pm
    NSO Performs Golijov, Britten & Shostakovich
    On Saturday, December 3rd, I went to the Kennedy Center to hear the National Symphony Orchestra perform Golijov's Sidereus, Britten's Violin Concerto, and Shostakovich's Symphony No. 1. Eschenbach conducted, and Midori played the violin. This must've been the second or third piece by Golijov I have heard played live, and every time I hear him I think that he would be better as a Hollywood movie composer than as a concert hall composer; his music isn't very deep, but it has a nice sheen and sets a tone that would make good background for visual scenes. I had heard Britten's piece before, but Midori's performance was particularly delicate. And Escehnbach's take on Shostakovich's first symphony was fantastic; it's not one of my favorite works, but the performance was done so well it made me reconsider it.
    Sunday, October 9th, 2011
    8:52 pm
    NSO Performs Sibelius Violin Concerto, Nielsen Symphony No. 5
    Yesterday I went to the Kennedy Center with my boyfriend to hear the National Symphony Orchestra perform Mussorgsky's Night on Bald Mountain, Sibelius' Violin Concerto, Liadov's The Enchanted Lake, and Nielsen's Symphony No. 5. John Storgards conducted, and Gidon Kremer played the violin. This was a pretty outstanding program. Kremer's take on the concerto was for the most part extremely sensitive, milking the work's gentleness wherever he could. As for the Nielsen symphony, it was great to see it performed live, because it made it easier to recognize the mechanics of how it worked. In particular, Nielsen has this way of making the work increasingly and increasingly more disorienting until he finally sweeps all that away to state clearly and simply the main thought propelling the movement; the emotional release comes when that moment of lucidity breaks from the confusion.
    Thursday, July 14th, 2011
    12:03 am
    E.E. Cummings: Why

    do the

    of the lit
    tle once beau
    tiful la

    dy(sitting sew
    ing at an o
    pen window this
    fine morning)fly

    instead of dancing
    are they possibly
    afraid that life is
    running away from
    them(i wonder)or

    isn't she a
    ware that life(who
    never grows old)
    is always beau

    tiful and
    that nobod
    y beauti

    ful ev
    er hur

    Sunday, April 17th, 2011
    10:57 pm
    Humanity's Depravity
    I went through a period recently in which I was watching too many movies and television shows that highlighted the depravity of humanity (Ace in the Hole and Damages being a couple of the most recent), and it made me so depressed that I had to stop myself. But it did get me thinking: suppose that humanity is so utterly depraved that anything we try to do will eventually result in another disaster. That would be a pretty strong disinclination to anything productive, wouldn't it? Which is perhaps how some politicians think. Some may think to themselves, "This is all going to lead to a fuck-up anyway, so I might as well play it whatever way most easily serves my advantage."

    And I suppose that is kind of the perspective of some people such as Flannery O'Connor, who take this view as part of their larger religious perspective. But of course there is a part of me that rebels against this, as I imagine a lot of people do, because I want to try make things better. And once you give up on humanity, you give up on doing those things that could obviously make things a little bit better. Supposedly, O'Connor was skeptical of the Civil Rights movement because she wasn't sure that it would make anything better in the end, but in retrospect I'm glad that that movement happened.

    But the most helpful part of this whole train of thought is that it is a reminder that when it comes to any given "advancement" or "movement," we always need to be ruthlessly cynical and critical. We always have to be vigilant to the dark potentials and ulterior motives.
    10:45 pm
    Two Concerts: Stravinsky's Les Noces; Mahler's Symphony No. 4
    I attended a couple of concerts last weekend. On Friday, April 8th, I went to Strathmore in Rockville to hear the Post-Classical Ensemble perform several rarely-played Stravinsky pieces: Symphonies for Wind Instruments, Concerto for Piano and Winds, and Les Noces. Alexander Toradze played the piano in the concerto, and Angel Gil-Ordonez conducted. The Ensemble presented the music with the idea of emphasizing Stravinsky's "Russian-ness," even in his more "neoclassical" works, and they did this by playing a short sound recording of Russian folk songs Orthodox church music so that we could compare them to the music the ensemble performed. Generally, the music alternated between lamenting and exhilarating, and was wonderful either way.

    On Saturday, April 9th, I went to the Kennedy Center to hear the National Symphony Orchestra perform Webern's Im Sommerwind, Golijov's She was Here, and Mahler's Symphony No. 4. Eschenbach conducted, and Dawn Upshaw sang. I had heard Fischer conduct Webern's piece maybe a couple years ago, and at the time I didn't think much of it; but I was impressed with it under Eschenbach; perhaps he argued for it more convincingly, or I was in a better frame of mind to accept it. At any rate, I wasn't as impressed by Golijov's piece, which was fine but seemed mostly like pretty ornamentation to what were originally Schubert melodies. Mahler's symphony was fine; it's one of my least favorite of his, which is why I had never heard it live until now, and although it was played admirably enough I was reminded as to why I don't listen to it very often.

    Current Mood: lazy
    Sunday, March 20th, 2011
    8:22 pm
    NSO Performs Zemlinsky's Lyric Symphony
    On Thursday I attended the National Symphony Orchestra's performance of Mozart's Piano Concerto No. 23 and Zemlinsky's Lyric Symphony. Eschenbach conducted and played the piano in the concerto. Matthias Goerne and Twyla Robinson sang. I've had a recording of the Lyric Symphony since high school and always loved the piece, so I knew what I was in for, but even so the NSO blew me away with its performance. It was incredibly sumptuous, a non-stop swirling of rich sounds. I actually liked the concerto as well, although I'm not a big Mozart fan, because Eschenbach's playing was very sensitive; he brought out as much emotion in the work as he could, especially in the middle movement.
    Sunday, March 13th, 2011
    11:06 pm
    Bad News Weekend
    So, this has been a terrible few days in regards to the news. Most horrifically is the giant earthquake that hit Japan and caused a massive tsunami. People died, towns swept away, and now at least one nuclear power plant is going through a meltdown. And then there's the news that Qaddafi's forces are beating back rebels while the international community watches impassively. And then, although not quite as tragic as the aforementioned but more depressing personally, is the Maryland legislature's failure to pass a law legalizing same-sex marriage.
    10:53 pm
    Climate Change in Victorian England
    So I'm reading this biography, The Desire of My Eyes, on the famous British art critic and social commentator John Ruskin, and it's jam-packed full of interesting information on Victorian Britain. One passage described the extent to which climate change occurred due to coal use:
    The 1870s and 1880s form a unique period in the history of environmental and weather study. The skies darkened, the air became thicker and unhealthier, the climate damper and colder. One result was a progressive increase in the numbers of people dying from respiratory ailments. Trees and animals died too... Thunderstorms steadily became more frequent in the London area, from 1690 into the 1870s. London weather was so bad that at times the mortality rate in a given week could rise by as much as 40 percent.

    The darkness and pollution of the atmosphere seemed to culminate in the winter of 1883-84, which was darker and more noxious than any in memory. One week before Ruskin first mentioned the Storm-CLoud--that is, before he published the theories which the newspapers called "fantastic and insane"--the barometer fell to the lowest level ever recorded in London. Modern scientists attribute this effect to the fact that the sulfur-dioxide levels had been rising ever since 1690 and reached their highest level ever in 1880, after which they started falling again. The concentration of smoke and dust in the air also reached its climax in 1880 and then dropped... Cities where today the sulfur-dioxide level ranges around 80 milligrams per cubic meter appear to have had levels of 150 milligrams in the 1880s. After that, a combination of factors such as central heating (which reduced the number of fireplaces); better, drier grades of coal; more efficient furnaces; new fuels; and new types of engines which replaced steam engines contributed to an improvement in air quality which even rapid spread of the automobile could not reverse.
    10:30 pm
    Three Concerts: Roussel, Hussain, Lou Harrison, and Messiaen
    I've been to three concerts in the past two weeks. The Kennedy Center is hosting a Maximum India festival, and for that, on Thursday, March 3rd, I attended at a performance at the National Symphony Orchestra of Roussel's suites from the opera Padmavati and of a world premiere of Zakir Hussain's Concerto for Four Soloists. Eschenbach conducted, and for the concerto Kelley O'Connor, Zakir Hussain, Shankar Mahadevan, and Hariharan performed. From what I've heard, Hussain, Mahadevan, and Hariharan are famous in India, and it showed with the huge numbers of Indians in the audience. However, I have to agree with the review of critic Jens Laurson:
    The music was highly rhythmical, as might be expected with a timpani soloist, simple in its attractive melodies, and fairly repetitious at times, reflecting its vaguely ritualistic character. There were some fun orchestral riffs, broken by vocal expostulations, supported by the tabla, that itself was then given its own Gene Krupa moment. Hussain is obviously a virtuoso player. The vocalizations, often sounding improvised (a form of Sufi scat singing?), were far more exotic than anything in the Roussel, and let us know that we were not in Kansas anymore. There was some lovely lyricism in the second movement, while the third, which began lyrically, reverted back to the highly rhythmic. The concerto was very colorful, perhaps orchestrally inflated, and heavier on flash than substance.
    A couple days later I took my boyfriend to hear the Post-Classical Ensemble perform several works by Lou Harrison: the first movement of the Concerto for Piano and Javanese Gamelan, Bubaran Robert, the Piano Concerto, and Four Strict Songs for Chorus and Orchestra. For this concert I pretty much agree with Anne Midgette's review:
    The whole thing smacked of the same homemade goodwill that Harrison and his life partner, Bill Colvig, put into constructing their own distinctive instruments for an American version of the gamelan, the Indonesian percussion ensemble. In the case of the Post-Classical Ensemble's events, "homemade" meant a lot of talking about Harrison's music and a regrettably low proportion of playing it. This didactic approach was all the more unfortunate since Harrison's music is so eminently able to speak for itself. Don't be put off by the idea of alternate tunings: This music is anything but academic or theoretical. It's centered on melody; it's direct and transparent, and those tunings - in, for instance, the radiant third movement of the monumental piano concerto, Saturday's main event - have the effect of lifting a veil on hearing, presenting simple sounds that seem not quite like anything you've heard before. The result is music that's unexpected and fresh, like a child offering up a profound philosophical tenet with the same sunny smile as the music's white-bearded creator.
    On Friday I went back to the National Symphony to hear them perform Messiaen's Turangalila Symphony. This was a real wish come true for me because the work is one of my ultimate favorites and orchestras perform the work only rarely. The performance was great, although it was a bit of a chore putting up with the audience members who either slept through (I don't know how, considering how loud it is!) or actually walked out. I took my boyfriend to this performance, and even he despised it; I hadn't heard him talk so disparagingly of an artwork before. But anyway, it was pretty amazing. My main complaint was that before the symphony played the academic Joseph Horowitz, the same guy in charge of the Post-Classical Ensemble, led a rather boring lecture on the work, giving no more information than was already located in the program notes. The time would've been better served if the orchestra had performed another piece to compliment the symphony.

    Current Mood: good
    Sunday, February 27th, 2011
    12:54 am
    Random Note on Folk Art
    Lately I've been a fan of folk art. And by folk art I don't mean the quirky, idiosyncratic works of autodidacts. I mean the works that are the product of traditions shared across communities -- American quilts, for example, or the traditional wedding costumes of Ukraine or the artwork from Haida. Their appeal is that they represent a nice blend or balance of expression between the individual and community, where an individual takes the norms of one's community to express one's own style and values. It's also democratic; anyone can participate rather than be relegated to consumers of experts' craft. Which is not to say that I dislike the fine art of masters, or that I want to destroy the hierarchy that they reinforce. It's just that the world needs both.
    Tuesday, January 18th, 2011
    2:46 pm
    An E.E. Cummings Poem: "...makin believe dey was chust born"
    even if all desires things moments be
    murdered known photographed,ourselves yawning will ask
    ou sont les neiges. . . . some

    guys talks big

    about Lundun Burlin an gay Paree an
    some guys claims der never was
    nutn like Nooer Leans Shikahgo Sain
    Looey Noo York an San Fran dictaphones
    wireless subway vacuum
    cleaners pianolas funnygraphs skyscrapers an safetyrazors

    sall right in its way kiddo
    but as fer i gimme de good ole daze. . . .

    in dem daze kid Christmas
    meant sumpn youse knows wot
    i refers ter Satter Nailyuh(comes but once er
    year)i'll tell de woild one swell bangup
    time wen nobody wore no cloze
    an went runnin aroun wid eachudder Hell
    Bent fer election makin believe dey was chust born
    Friday, January 7th, 2011
    11:33 pm
    On Shutter Island, with Spoilers
    Just saw the movie Shutter Island. It reminded me a lot of David Lynch's Mulholland Drive, Lost Highway, and Inland Empire, with its theme of someone assuming a second identity because they can't accept the first, but Martin Scorsese's treatment is more conventionally Hitchcockian. What sets this movie apart is that it more proactively drives home the point that this theme isn't just about us as individuals, dealing with how we perceive ourselves morally, but that it's also about our collective guilt and how we perceive our actions as a community, whether it's as a nation, an army, etc.
    Saturday, January 1st, 2011
    10:38 pm
    Goethe: Der Abschied/The Farewell
    Der Abschied

    Laß mein Aug’ den Abschied sagen,
    Den mein Mund nicht nehmen kann!
    Schwer, wie schwer ist er zu tragen!
    Und ich bin doch sonst ein Mann.

    Traurig wird in dieser Stunde
    Selbst der Liebe süßtes Pfand,
    Kalt der Kuß von deinem Munde,
    Matt der Druck von deiner Hand.

    Sonst, ein leicht gestohlnes Mäulchen,
    O wie hat es mich entzückt!
    So erfreuet uns ein Veilchen,
    Das man früh im März gepflückt.

    Doch ich pflücke nun kein Kränzchen,
    Keine Rose mehr für dich.
    Frühling ist es, liebes Fränzchen,
    Aber leider Herbst für mich!

    The Farewell

    Let my eyes say farewell,
    Since my mouth cannot take!
    Hard, how hard it is to bear!
    And I am but usually a man.

    Sadly shall be in this hour
    Even the love sweetened pledge,
    Cold the kiss from your mouth,
    weak the pressure from your hand.

    Usually, a lightly stolen little mouth,
    O how it had delighted me!
    So we enjoyed a violet
    That one picked early in March.

    But now I gather no wreath,
    No rose for you anymore.
    Spring is it, dearest Francine,
    But sadly Fall for me!
    10:33 pm
    Goethe: Blinde Kuh/Blind Cow
    (Note: "Blind Cow" is the German equivalent of Blind Man's Buff, a version of tag in which the person who is "it" has to wear a blind while chasing the other players.)

    Blinde Kuh

    O liebliche Therese!
    Warum seh’ ich so böse
    Mit offnen Augen dich?
    Die Augen fest verbunden,
    Hast du mich gleich gefunden,
    Und warum fingst du eben — mich?

    Du faßtest mich auf’s beste,
    Und hieltest mich so feste,
    Ich sank in deinen Schooß.
    Kaum warst du aufgebunden,
    War alle Lust verschwunden;
    Du ließest kalt den Blinden los.

    Er tappte hin und wieder,
    Verrenkte fast die Glieder,
    Und alle foppten ihn.
    Und willst du mich nicht lieben;
    So geh’ ich stets im Trüben,
    Wie mit verbundnen Augen hin.

    Blind Cow

    O lovely Therese!
    Why am I so angry
    when your eyes open up?
    The eyes firmly bounded,
    Had you just found me,
    And why catch you just -- me?

    You took me as best
    And held me so fast
    I fell into your lap.
    Hardly were you unbound,
    Was all pleasure gone;
    You coldly let your blind go.

    He groped down and again,
    Almost dislocated limbs,
    And all teased him.
    And will you not love me;
    So I go evermore in troubled waters,
    As with bounded eyes down.
    10:20 pm
    Goethe: Erinnerung/Memento

    Willst du immer weiter schweifen?
    Sieh, das Gute liegt so nah.
    Lerne nur das Glück ergreifen,
    Denn das Glück ist immer da.


    You want to roam forever?
    See, the good lies so near.
    Learn to embrace happiness,
    because happiness is always there.
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