wolfgang peter

Shakespeare and Mozart have a strange similarity as artists: they both used and abused what they inherited. Shakespeare received a formal tradition of English blank verse from Marlowe. Mozart inherited the shape and architectural symmetry of Baroque music. For Shakespeare, it was possible to take the regularity of the iambic pentameter, and, by contradicting it with irregularities and cross-rhythms which almost (but not quite) destroy the form, make an infinitely expressive means of conveying emotion. By the Late Plays, he is writing with a freedom that relies on knowing that his actors always have a regular iambic pentameter beating in their heads, like the pules of a sophisticated jazz group. They can play with it or move against it in order to express emotion or tension, confusion or resolution.

The eighteenth century knew very well what music was and should be. Mozart’s energy challenges this certainty. His sudden shifts of key, his chromaticisms, the contradiction that so many of his phrases offer to the accepted forms of the eighteen century, not only point the way to Beethoven and the Romantics; they enable him to express heartbreak and pain in counterpoint to the balance and serenity of the classical world. He deepens music so that it takes on a tragic dimension. Shakespeare did the same with his words. The Elizabethans knew very well what iambic verse should be, and Shakespeare, in the interests of spontaneity, often comes near to destroying it. This produces a tension and therefore keeps the speech dramatic.

—  Peter Hall, Shakespeare’s Advice to the Players
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2016, du warst ein Hurensohn

Ich trauere um:

David Bowie, Bud Spencer, Harper Lee, Muhammad Ali, Prince, Leonard Cohen, Peter Lustig, Fidel Castro, Alan Rickman, Gene Wilder, Wolfgang Rohde, Reinhard Häfner, George Michael & Carrie Fisher.

En el fondo, todos somos criaturas colectivas, (…) algo que mucha buena gente no acierta a comprender, por lo que se pasa media vida tanteando en la oscuridad y soñando con ser original.
—  Johann Peter Eckermann, Conversaciones con Goethe
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Apparently it’s not enough for 2016.

Today Peter Shaffer died at 90. You may think you don’t know him BUT you totally do. He was a great playwright and you know (by heart) his two most famous works: Equus and Amadeus.

Of course, here at My 18th Century Source celebrate his play about the life and (totally made up) dead of THE musician from the classical period, Wolfgang Amadeus Mozart, and of course the screenplay adaptation from his own play for the 1984 film Amadeus (which gave him an Oscar).

Even if I personally hate this costume design by Theodor Pistek XD (especially the womenswear!).

Gifs by @highvolumetal

Una cosa es segura: que en situaciones especiales las antenas de nuestra alma pueden ir más allá de sus fronteras físicas, siéndole dado presagiar o, incluso, ver realmente ante sí su futuro más próximo.
—  Johann Peter Eckermann, Conversaciones con Goethe
Y ahora ya, por mucho que la cultura progrese, por mucho que las ciencias naturales se acrezcan en extensión y hondura y por mucho que el espíritu humano se remonte a lo alto, nunca irá más allá de la altura y la cultura moral del cristianismo, tal y como brilla y refulge en los Evangelios. (…) Pues luego que hayamos incorporado y sentido la pura doctrina del amor de Cristo, nos sentiremos grandes y libres en nuestra condición de hombres, y no daremos gran valor al detalle de que el culto externo tenga esta o la otra forma. Y así, poco a poco, el cristianismo de la palabra y el dogma se convertirá en un cristianismo de sentimiento y de la acción.
—  Johann Peter Eckermann, Conversaciones con Goethe

Kting Voar or Khting vor, linh duong, or snake-eating cow is a bovine-like cryptid reported to have once existed in Cambodia and Vietnam. It is said to look like a cow with strange looking 20 inch long horns and spotted patterns on its fur. The first evidence of this creature’s existence was reported by Wolfgang Peter in a marketplace in Ho Chi Minh City in Vietnam in 1994 when he found a set of horns so strange in appearance that he believed them to be from a brand new species. Upon DNA analysis, it was proven that all horns found were nothing more than artificially shaped cattle horns. However, genetic studies on alleged samples of the Kting Voar have turned up confusing results; it also showed that the initial testing of the horns may have been contaminated. It’s believed that the horns are artificially shaped to be anti-snake talismans used by locals. Much earlier in the 20th century, two British tiger hunters reportedly shot and killed two Kting Voar and used them as tiger bait. Scientists hold the belief that the Kting Voar is nothing more than a myth, with roots in reality. If the animal were to exist, it would be highly endangered, if not extinct thanks to extensive deforestation and hunting. Until more evidence comes up, the Kting Voar remains a questionable creature at best.

Image credit to club member Kaylee.

ALL MY SHIPS (in no particular order)

1 bellarke
2. Clexa
3. Bangel ( Buffy x angel)
4. Stydia
5. Spuffy ( spike x Buffy)
6. Clois ( Clarke x Lois)
7. LoVe ( Logan x Veronica)
8. Makorra ( mako x korra)
9. Zutara ( Zuko x katara)
10. Eric x Sookie
11. Gwen Stacy x Peter Parker
12. Kalagang ( Wolfgang x Kala)
13. Riley x Will
14. Sterek
15. Scallison
16. Chair ( chuck x Blair)
17. Ron x Hermione


PLS REBLOG IF U POST THESE SO I CAN CHECK OUT YOUR BLOG :)

Dios no se retiró a descansar después de los imaginarios seis días de la Creación, sino que su actividad es hoy tan intensa como el primer día. Construir este grosero mundo con elementos simples y hacer que ruede año tras año, iluminado por los rayos del sol, no le habría interesado gran cosa si no hubiera tenido el plan de fundar en este solar de la materia, un vivero de espíritus. Y por eso actúa sin cesar sobre las naturalezas superiores para elevar de ese modo a las más bajas.
—  Johann Peter Eckermann, Conversaciones con Goethe
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Remember that time we performed live with skrillex?

El universo es tan grande y rico, y la vida tan variada que nunca faltarán ocasiones para componer poemas. Pero siempre deben ser poesía de circunstancia, es decir, es la realidad la que tiene que proporcionarnos la ocasión y el tema necesarios. Un caso concreto sólo se volverá universal y poético cuando lo trate el poeta. Todas mis composiciones líricas son poemas de circunstancias que han sido inspirados por la realidad y que encuentran su fondo y su base en ella. A mí los poemas sacados del aire no me dicen nada.
—  Johann Peter Eckermann, Conversaciones con Goethe
La mayor parte de las creaciones no son románticas por nuevas, sino por débiles, endebles y enfermas, mientras que lo antiguo no es clásico por antiguo, sino por fuerte, fresco y sano.
—  Johann Peter Eckermann, Conversaciones con Goethe