Some of the songs on "Reaching for Indigo," her fourth album, feel like laments for lost connections, others like solitary exorcisms.
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One can see it in the solemn laments for dropped-out candidates like Julián Castro and Cory Booker from people who never intended to support them in the first place.
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The visions they espouse of individual liberty, limited government and the rejection of political correctness are only thinly disguised laments for the system of white supremacy that their conservative vision has always depended on.
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What a tribute, it seems, that her evocative character sketches and laments for doomed love — melodically unpredictable, literary, convoluted and mostly lacking catchy pop refrains — should have remained so familiar, and that they should still strike us as so beautiful, smart and inventive.
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More than a year since the debut of Beyoncé's Lemonade — the queen's opus full of infidelity allusions, laments for love lost, and praise for love won back again — JAY-Z is sharing his side of the story, and the plot points are pretty are much the same.
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Browse the Facebook pages where young Corbynistas hang out and you do not find hymns of praise to the workers' control of the means of production, but laments for the indignities of modern metropolitan life and jeremiads against baby boomers who grabbed all the cheap houses and got free university education into the bargain.
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Anonymized (or "annihilated" as she put it in a recent interview with VICE) by her own veil, and putting her words in the mouths of others, Anohni's gesture seemed to say that these songs are laments for everyone—that the power of the words lay not only in the words themselves, but the impact they make when uttered in unison.
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Imagining that he has died, he announces to his loved ones that a funeral should be planned, as he is on his way to Paradise. Kadish laments for his son.
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But since Alexander's mother forgot to pack in dessert, there was no dessert in his lunch bag. Alexander laments (for a fifth time) having a "terrible, horrible, no good, very bad day". After school, Alexander's mother takes him and his brothers to the dentist.
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The track "Rock Me to Sleep," co-written with Richard Barone, was featured on the television shows Felicity, Dawson's Creek, and The West Wing. It was also covered by Sally Timms of the Mekons on her 1999 album, Cowboy Sally's Twilight Laments for Lost Buckaroos.
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Lê Thị Ngọc Hân was the twenty-first and youngest daughter of king Lê Hiển Tông who arranged her marriage at the age of sixteen to Nguyễn Huệ, who later reigned as Emperor Quang Trung, for whom she left two admirable poems in chữ Nôm, moving laments for her husband.Thomas Hodgkin Vietnam: the revolutionary path 1981 - Page 87 "gave him his sixteen- year-old daughter, Le Thi Ngoc Han, as a wife. A well-educated girl, she died in 1799 at the age of twenty-nine, leaving two children and two admirable poems in nom, moving laments for her husband ..." She herself was memorialized in a lament by Phan Huy Ích.
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Then he laments (for the second time) how bad his day is going to be. There are problems when Alexander is at school. At art time, his teacher Mrs. Dickens discourages Alexander's picture of the invisible castle (which is actually just a blank sheet of paper).
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For a critical exchange between Patrick Baert/Filipe Carreira da Silva and Simon Susen (in relation to Baert and Silva's 2010 book), see the journal Distinktion; Scandinavian Journal of Social Theory.Distinktion 2012 Online first. Whilst sympathetic, Susen laments, for instance, Baert and Carreira da Silva's anti-foundationalism.
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Guó (國) means the "state", "kingdom", or "nation". Shāng (殤) means to "die young". Put together, the title refers to those who meet death in the course of fighting for their country. David Hawkes describes it as "surely one of the most beautiful laments for fallen soldiers in any language".
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Aishōka (哀傷歌) is a category of waka poetry. Loosely translated, it refers to "laments", but the precise meaning varied over the centuries. Originally it appears to have referred specifically to laments for the dead, but later came to include Buddhist poems on impermanence and even some love poems.
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In 1997, the song was inducted into the Grammy Hall of Fame. Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century. "Yesterday" is a melancholy ballad about the break- up of a relationship. The singer nostalgically laments for yesterday when he and his love were together, before she left because of something he said.
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Several were reputed scholars, musicians and poets. To reflect the misery and hardship in their everyday lives, many of their songs and poems were laments. For an excellent example of such a lament, see Matt Cranitch, The Irish Fiddle Book, Ossian Pub, page 114 and recording number 47. Irish-language writer Máirtín Ó Cadhain's writing featured "dark ambiguities, seething resentments and petty humiliations" endured by spailpíní.
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Dhritarashtra broke that statue, then laments for Bhima's death. Krishna tell him the truth and criticizes his actions at which Dhristrashtra repents. The Pandavas with Krishna and sages thereafter go to see Gandhari, the upset and weeping Kaurava mother who had lost all her sons and grandsons at the war. Gandhari, afflicted with grief on account of the death of her sons, wished to curse king Yudhishthira.
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They include some nature description and laments for dying genius.The Feminist Companion to Literature in English, eds Virginia Blain, Patricia Clements and Isobel Grundy (London: Batsford, 1990), p. 248. A recent critic discerned in her work "technical virtuosity, masked by claims of metrical irregularity, and a profound questioning of Romantic values." Another modern commentator has called her book of poems "a remarkable text of women's Romanticism".
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But the problems have still only begun. Alexander laments for a fourth time that he could tell it going to be a terrible, horrible, no good, very bad day (saying, "I could tell..."). When Alexander was at recess, Paul decided that Alexander was no longer his best friend. Paul has decided to choose Phillip as his first best friend and Albert as his second one.
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The female choir enters carrying Pandore on a bier of leafy branches, after which Aenoë makes the funeral oration. Prométhée returns with the executioners from Olympus. Though Hephaestus laments for his friend, Bia and Kratos are there to ensure that he make the chains to bind Prométhée to the rock. Having slit his veins, they leave and the revived Pandore enters again to lament his fate.
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This episode was inspired by Malipiero's observations of the contrast between Venetian serenades and laments for the dead. Roles: L'innamorato (the man in love), (tenor); young woman (mimed) 6\. Il campanaro (The bellringer) – As a man rings the church bells to warn the townspeople of a terrible fire, he sings a ribald song, seemingly indifferent to the impending disaster. This episode was inspired by a funeral which Malipiero had attended in Ferrara.
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Alexander laments for a sixth time of having a "terrible, horrible, no good, very bad day". That evening, the family has lima beans for dinner which Alexander hates. He also watches kissing on TV and he hates kissing. During Alexander's bath, the water is too hot, he gets soap in his eyes, his marble lost in the drain, and then he is forced to wear his "railroad-train" pajamas which hates as well.
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CD Review noted that the album seemed "familiar" despite the change in producers and session musicians: "a couple of whimsical numbers, a couple of bluesy laments for love gone wrong, a let's-get-away-from-it-all love song" while praising the lyrical content of "Standing Knee Deep in a River" and "Seeds". In June 1992, Mattea was required to undergo vocal rest and surgery due to "repair years of overuse" on her vocal cords.
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The Priya-Vichu intimacy creates a jealousy for Raj, another employee in the company who intends to woo her and humiliate Vichu. Pappu/Vichu meets Kishore as an anonymous man and learns that his mother is very depressed and fell sick following her son's disappearance. She laments for being so strict with him which she had done for his well being. Pappu realizes his mother's love and goes to the scientist to revert him to his younger self.
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The action takes place around the year 1081, when an ancient demon hears Moura's laments for her fallen love and uses her tears to create a magic key, which unleashes demons into the Kingdom of Castile. King Alfonso VI of León orders Don Ramiro, Quesada, Don Diego, and Mendoza, to Tolomera to end the demonic nightmare that looms over the kingdom. As the demons get to his comrades, however, Don Ramiro must fight alone to rescue them and bring peace to the land.
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The traditional music of Tuvalu encompassed different types of song with a strong emphasis on dancing songs. Other types were play songs (sung during counting game, games of skill and other games); work songs which the women performed, such as while preparing coconut fibre string; fishermen's calling songs; songs of praise (viki or taugafatu); and laments for deceased members of the family.Donald G. Kennedy, Field Notes on the Culture of Vaitupu, Ellice Islands, Journal of the Polynesian Society, vol.38, 1929, pp.
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Fredmans epistlar (English: Fredman's Epistles or Epistles of Fredman) is a collection of 82 poems set to music by Carl Michael Bellman, a major figure in Swedish 18th century song. Though first published in 1790, it was created over a period of twenty years from 1768 onwards. A companion volume, Fredmans sånger (Fredman's Songs) was published the following year. The Epistles vary widely in style and effect, from Rococo-themed pastorale with a cast of gods and demigods from classical antiquity to laments for the effects of Brännvin- drinking, tavern-scenes, and apparent improvisations.
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The dance of two Argentine tango street dancers Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires and Montevideo. It typically has a or rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the small button accordion called the bandoneon.
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Laments for Josiah is the term used in reference to . The passage reads: "And Jeremiah lamented for Josiah: and all the singing men and the singing women spake of Josiah in their lamentations to this day, and made them an ordinance in Israel: and, behold, they are written in the lamentations." This source, as described by the Chronicler, should not be confused with the canonical Book of Lamentations. The same event is retold in 1 Esdras 1:32, although it lacks any reference to writing, or the recording of the lamentation.
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Die Nibelungenklage or Die Klage (English: the lament; Middle High German: Diu Klage) is an anonymous Middle High German heroic poem. The poem describes the laments for and burial of the dead from the Nibelungenlied, as well as the spread of the news of the catastrophe that ended the other poem, as well as the fates of the various characters who survived. It was likely written at around the same time as the Nibelungenlied (c. 1200), and is appended to it as though it were another episode (âventiure).
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A number of poems of later date are ascribed to Gormflaith in Middle Irish sources, including laments for Cerball and Niall, but not for Cormac. L.M. McCraith, noting that “the charm of Gaelic verse depends for the most part on an elaborate system of repetition and alliteration, which no other language can reproduce,” gives this translation of the poem “Gormlaith, the daughter of Flann, speaks to the Priest”: “Monk, remove thy foot! Lift it from the grave of Nial. Too long dost thou heap earth On him with whom I fain would lie.
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Unbeknownst to him, he carries a letter that tells Almanzor of Ruy's plans to have the infantes ambushed and murdered, and requesting that their father, letter's bearer, likewise be killed. Ruy Velásquez carries out the ambush of his nephews using Muslim troops and supervises their beheading, sending the severed heads to Córdoba to torment their father. His painful laments for his sons represent one of the most emotional in all of Castilian epic traditionCarlos Alvar y Manuel Alvar (1997), pp. 175-176 Almanzor takes pity on him and merely has him imprisoned.
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Pandi leaves his house and even though his father insults him publicly, Pandi cannot hear anything being said. After being hit by his father, Pandi tells him that he always loved him, but he couldn't be the son his father wanted to be. Pandi's father realizes his selfishness and feels saddened at this and tries to call Pandi back, but Pandi cannot hear him, and simply walks away despite his father's cries to come back home. Chandran's father laments for his son losing his leg, but tells him to stay strong as he can still come up in life.
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Many epic poems of various cultures were pieced together from shorter pieces of traditional narrative verse, which explains their episodic structure, repetitive elements, and their frequent in medias res plot developments. Other forms of traditional narrative verse relate the outcomes of battles or describe tragedies or natural disasters. Sometimes, as in the triumphant Song of Deborah found in the Biblical Book of Judges, these songs celebrate victory. Laments for lost battles and wars, and the lives lost in them, are equally prominent in many traditions; these laments keep alive the cause for which the battle was fought.
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She followed Hemingway's work with nine more books in 1932, including William Faulkner's Sanctuary, Kay Boyle's Year Before Last, Dorothy Parker's Laments for the Living, and Antoine de Saint-Exupéry's Night-Flight, along with works by Paul Eluard, Max Ernst, Alain Fournier, George Grosz, C. G. Jung, and Charles-Louis Philippe. After six months of sales the books had only grossed about US$1200. Crosby was unable to persuade U.S. publishers to distribute her work, as paperbacks were not yet widely distributed, and then publishers were not convinced that readers would buy them. She closed the press in 1933.
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First that; but later, for worse, the real > thing.Wharton, "End Column", Daily Telegraph, 19 April 2002 However the quote occurs in a context of a passage gleefully satirising the Boycott Israel movement. His obituary in The Guardian pursued the same thread: > In his comment paragraphs, he aired a conservatism light years to the right > of most conservatives, stealing sometimes into fleeting, only half- > retracted, laments for the Europe that Hitler's New Order might have > created.The Guardian article Michael Wharton held the National Socialist Adolf Hitler to be a radical, a revolutionary totally opposed to conservative principles.
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After the collapse of this plot, Orbeliani was arrested and sentenced to death, but reprieved and exiled to Kaluga. The abortive uprising and relatively mild punishment that followed forced many conspirators to see the independent past as irremediably lost and to reconcile themselves with the Russian autocracy, transforming their laments for the lost past and the fall of the native dynasty into Romanticist poetry. In 1838, Orbeliani joined the Russian military service and served in the Nizhny Novgorod Dragoon regiment. Most of his military career was spent in the struggle against the rebellious mountainous tribes during the Caucasus War.
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The fate of Tekle's family reflected the ambiguous situation the Georgian nobility found themselves with the arrival of the Russian rule. Her husband, Prince Orbeliani, was killed fighting in the Russian ranks against the Georgian rebels in Kakheti in 1812, while Tekle, like her sisters, Mariam and Ketevan, wrote poems imbued with elegy and laments for the lost Georgian kingdom. Among a handful of surviving poems is a reaction to her sister's despair, "In Response to Princess Ketevan" (პასუხად ქეთევან ბატონიშვილს). In 1832 Tekle's family in Tiflis became the meeting place of the Georgian nobles and intellectuals disaffected with the Russian overlordship.
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The 9th-century Bunka Shūreishū (an anthology of poems in classical Chinese) used the word aishō (哀傷). Many of the imperial collections include books of aishōka, including the Kokin Wakashū, the Gosen Wakashū, the Shūi Wakashū, the Goshūi Wakashū, the Senzai Wakashū, the Shinkokin Wakashū, the Shokukokin Wakashū, the Shokusenzai Wakashū, the Shokugoshūi Wakashū, the Shinsenzai Wakashū, the Shinshūi Wakashū and the Shinshokukokin Wakashū. The word aishō was already in use in the Man'yōshū to describe the themes of several poems. With the exception of one poem describing a banishment, all were laments for the dead.
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The Book of Lamentations (, ‘Êykhôh, from its incipit meaning "how") is a collection of poetic laments for the destruction of Jerusalem in 586 BCE. In the Hebrew Bible it appears in the Ketuvim ("Writings"), beside the Song of Songs, Book of Ruth, Ecclesiastes and the Book of Esther (the Megillot or "Five Scrolls"), although there is no set order; in the Christian Old Testament it follows the Book of Jeremiah, as the prophet Jeremiah is its traditional author. Jeremiah's authorship is still generally accepted even though authorship isn't specifically notated in the text. According to insight.
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When Pavithra walks in to see him, she sobs at his lost leg and inability to walk, and Chandran's father goes out of everyone's sight and breaks down at his son's fate, but still stands by his son to succeed in life. Karuna returns home and is traumatized, as he lost his beloved grandmother, and the entire family laments for his pain and efforts. His father tells him, whatever he did was fine, but he has to give up on Nallammal due to her father's behavior at the funeral. Karuna, heartbroken, agrees and decides to work as the caterer's aid, helping with cooking and serving.
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As his mother (Anne Bancroft) lays on her deathbed, Marco's aunt Flora (Sada Thompson) laments for his father, who has been away since before Marco was born and has sent nothing but items that she sees as idols of another god. His father Niccolò (Denholm Elliot) and uncle Matteo Polo (Tony Vogel) return home. They appear before the Council of the Republic of Venice, hoping for a possible alliance between the Mongols and the Republic. The Polo brothers show the council Mongolian currency and tell stories of the might of the Mongols, but they are quickly rebuked due to the pagan nature of the Mongols.
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However, it was not until the Sixth dynasty that narratives of the lives and careers of government officials were inscribed.; see also . Tomb biographies became more detailed during the Middle Kingdom, and included information about the deceased person's family.. The vast majority of autobiographical texts are dedicated to scribal bureaucrats, but during the New Kingdom some were dedicated to military officers and soldiers.. Autobiographical texts of the Late Period place a greater stress upon seeking help from deities than acting righteously to succeed in life.. Whereas earlier autobiographical texts exclusively dealt with celebrating successful lives, Late Period autobiographical texts include laments for premature death, similar to the epitaphs of ancient Greece..
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E. J. Weber, Peasants into Frenchmen: the modernization of rural France, 1870-1914 (Stanford University Press, 1976), pp. 431-5 and Simon J. Bronner, Folk nation: folklore in the creation of American tradition (Rowman & Littlefield, 2002), p. 142. A.L. Lloyd defined the industrial work song as 'the kind of vernacular songs made by workers themselves directly out of their own experiences, expressing their own interest and aspirations...'. Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads.
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The year 1832, when the Georgian plot collapsed, divides his work into two principal periods. Prior to that event, his poetry was mostly impregnated with laments for the former grandeur of Georgia, the loss of national independence and his personal grievances connected with it; his native country under the Russian empire seemed to him a prison, and he pictured its present state in extremely gloomy colors. The death of his beloved friend and son-in-law, Griboyedov, also contributed to the depressive character of his writings of that time. A corner of Chavchavadze's residence in Tsinandali where the still functioning famous winery serves today as a major tourist attraction in Kakheti.
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" Ray Rhamen, writer for Entertainment Weekly gave a mixed review, reporting that "robbed of their outsider status, the boys swap horror for hormones on The OF Tape, Vol 2., giddily trading tall tales and witty obscenities. For better or worse, OF might actually be growing up." musicOMH's Andy Baber viewed the album as "an eclectic and solid - if unspectacular - return, which should see their already dedicated fanbase increase", commenting that "Frank Ocean is criminally underused". Mike Madden of Consequence of Sound felt that "too many things happen here, from the Brick Squad-type rave-ups to Ocean's R&B; laments, for it to ever sound like a truly unified, full-length group project.
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Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads. He also noted the existence of songs about heroic and mythical figures of industrial work, like the coal miners the 'Big Hewer' or 'Big Isaac' Lewis. This tendency was even more marked in early American industrial songs, where representative heroes like Casey Jones and John Henry were eulogised in blues ballads from the 19th century.N. Cohen and D. Cohen, Long Steel Rail: the Railroad in American Folksong (University of Illinois Press, 2000), p. 126.
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Translating this work requires a high knowledge of the genres presented in the book, such as poetic forms, various prose types including memorials, letters, proclamations, praise poems, edicts, and historical, philosophical and political disquisitions, threnodies and laments for the dead, and examination essays. Thus the literary translator must be familiar with the writings, lives, and thought of a large number of its 130 authors, making the Wen Xuan one of the most difficult literary works to translate.Eugene Eoyang and Lin Yao-fu, Translating Chinese Literature, Indiana University Press, 1995, pp. 42–43. Translation generally, much as with Kurt Gödel's conception of mathematics, requires, to varying extents, more information than appears in the page of text being translated.
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François Boucher's 1740 painting Triumph of Venus, the Rococo influence on Carl Michael Bellman's Fredman's Epistles, written from 1760 onwards and published in 1790 Fredman's Epistles is a collection of 82 songs by the dominant figure in Swedish 18th century song, Carl Michael Bellman, first published in 1790. It was created over a period of twenty years from 1768 onwards.Bellman.net Fredmans epistlar A companion volume, Fredmans sånger (Fredman's Songs) was published the following year. The songs in Fredman's Epistles vary widely in style and effect, from Rococo-themed pastorale with a cast of gods and demigods from classical antiquity to laments for the effects of Brännvin-drinking; lively tavern-scenes, apparent improvisations skilfully crafted.
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Born in Leeds, in 1959,Wallenfeldt, Jeff "the Mekons" in Encyclopædia Britannica. Retrieved 16 September 2013 Timms recorded her first solo album, Hangahar (an experimental improvised film score), at the age of 19 with Pete Shelley of the Buzzcocks in 1980. Prior to joining The Mekons in 1986 she was in a band called the She Hees.Grow, Kory (2007) "Five Mekons Records That Make Jon Langford and Sally Timms Proud to be Mekons", CMJ New Music Monthly, August–September 2007, pp. 10–11. Retrieved 16 September 2013 She has released several other solo albums, Someone's Rocking My Dreamboat in 1988, To the Land of Milk and Honey in 1995, and a country album, Cowboy Sally's Twilight Laments for Lost Buckaroos, for Bloodshot Records in 1998.
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The tragic quality of Baratashvili's poetry was determined by his traumatic personal life as well as the contemporary political situation in his homeland. The failure of the 1832 anti-Russian conspiracy of Georgian nobles, with which Baratashvili was a schoolboy sympathizer, forced many conspirators to see the independent past as irremediably lost and to reconcile themselves with the Russian autocracy, transforming their laments for the lost past and the fall of the native dynasty into Romanticist poetry. Shortage of money prevented Baratashvili from continuing his studies in Russian universities, while an early physical injury – his lameness – did not allow him to enter military service as he wished. Eventually, Baratashvili had to enter the Russian bureaucratic service and serve as an ordinary clerk in the disease-ridden Azerbaijani town of Ganja.
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According to the Encyclopædia Iranica: "The influence of the legend of Farhad is not limited to literature, but permeates the whole of Persian culture, including folklore and the fine arts. Farhad's helve supposedly grew into a tree with medicinal qualities, and there are popular laments for Farhad, especially among the Kurds (Mokri)." In 2011, the Iranian government's censors refused permission for a publishing house to reprint the centuries-old classic poem that had been a much-loved component of Persian literature for 831 years. While the Iranian Ministry of Culture and Islamic Guidance offered no immediate official explanation for refusing to permit the firm to publish their eighth edition of the classic, the Islamic government's concerns reportedly centered on the "indecent" act of the heroine, Shirin, in embracing her husband.
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The Ipuwer Papyrus has been dated no earlier than the Nineteenth Dynasty, around 1250 BCE but it is now agreed that the text itself is much older, and dated back to the Middle Kingdom, though no earlier than the late Twelfth Dynasty. The Admonitions is considered the world's earliest known treatise on political ethics, suggesting that a good king is one who controls unjust officials, thus carrying out the will of the gods. It is a textual lamentation, close to Sumerian city laments and to Egyptian laments for the dead, using the past (the destruction of Memphis at the end of the Old Kingdom) as a gloomy backdrop to an ideal future. It was previously thought that the Admonitions of Ipuwer presents an objective portrait of Egypt in the First Intermediate Period.
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Themes frequently found in Gaelic music include the great beauty and spiritual qualities of nature ("Chi Mi Na Mòrbheanna," "An Ataireachd Ard") and laments for lost loved ones ("Fear a' Bhàta," "Ailein Duinn," "Griogal Cridhe"). The latter are nearly always sung from the female perspective, expressing deep grief if the male lover is dead or begging him to return if he is absent or missing. In Scotland, long complex piobaireachd, or pibroch, compositions, originally on the Gaelic harp but then transposed to bagpipes and fiddle as these instruments came into vogue in the Highlands in the 16th and late 17th centuries respectively, are also characteristic of Gaelic music, as is the highly ornamented style of Sean-nós singing in Ireland. Other subgenres include puirt à beul and waulking songs.
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Pryer's article on Du Fay in New Oxford Companion to Music, ed Arnold (1983) It may also represent the arming for a new crusade against the Turks.Lockwood in The New Grove Dictionary of Music and Musicians (1980) (quoted by Peter Phillips, in notes to 1989 recording of the two Josquin masses) There is ample evidence to indicate that it held special significance for the Order of the Golden Fleece. It is useful to note that the first appearance of the song was exactly contemporaneous with the fall of Constantinople to the Ottoman Turks (1453), an event which had a huge psychological effect in Europe; composers such as Guillaume Du Fay composed laments for the occasion. Yet another possibility is that all three theories are true, given the feeling of urgency, pervasive in central and northern Europe at the time, in organizing a military opposition to the recently victorious Ottomans.
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The conspirators planned to invite the Russian officials in the Caucasus to a grand ball where they would be given the choice of death or surrender. After the collapse of this plot, Orbeliani was arrested and exiled to Orenburg whence he would not be able to return until 1840. The abortive uprising and relatively mild punishment that followed forced many conspirators to see the independent past as irremediably lost and to reconcile themselves with the Russian autocracy, transforming their laments for the lost past and the fall of the native dynasty into Romanticist poetry. Orbeliani's most coherent pieces are the allegorical poem of 1832, The Moon (მთოვარე), and a patriotic short story Immaculate Blood (უმანკო სისხლი) about three sisters, nuns, who prefer death to apostasy when the commander of invading Persian troops demands it; the latter is so impressed that he has to die with them.
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Minhinnick won the Forward Prize for Best Individual Poem in 1999 for 'Twenty-five Laments for Iraq', and again in 2003 for 'The Fox in the National Museum of Wales'.Forward Poetry Prize winners (accessed 18 August 2007) His poem ‘The Castaway’ was also shortlisted in 2004. He has also won an Eric Gregory Award (1980) and a Cholmondeley Award (1998), both awarded by the Society of Authors to British poets.Society of Authors: Eric Gregory Trust Fund Awards (winners) (accessed 18 August 2007)Society of Authors: Cholmondeley Awards for Poets (past winners) (accessed 18 August 2007) Minhinnick has won the English-language Wales Book of the Year award a record three times: in 1993 for his essay collection Watching the fire-eater, in 2006 for his essay collection To Babel and Back and in 2018 for his poetry collection Diary of the Last Man.
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Ancient Sumerian statuette of two gala priests, dating to 2450 BC, found in the temple of Inanna at Mari The Gala (Sumerian: gala, Akkadian: kalû) were priests of the Sumerian goddess Inanna, significant numbers of the personnel of both temples and palaces, the central institutions of Mesopotamian city states, individuals with neither male nor female gender identities. Originally specialists in singing lamentations, gala appear in temple records dating back from the middle of the 3rd millennium BC.Hartmann 1960:129–46; Gelb 1975; Renger 1969:187–95; Krecher 1966:27–42; Henshaw 1994:84–96 According to an old Babylonian text, Enki created the gala specifically to sing "heart-soothing laments" for the goddess Inanna.Kramer 1982:2 Cuneiform references indicate the gendered character of the role.Gelb 1975:73; Lambert 1992:150–51 Lamentation and wailing originally may have been female professions, so that men who entered the role adopted its forms. Their hymns were sung in a Sumerian dialect known as eme-sal, normally used to render the speech of female gods,Hartmann 1960:138; Krecher 1966; Cohen 1974:11, 32 and some gala took female names.Bottéro and Petschow 1975:465 Homosexual proclivities are clearly implied by the Sumerian proverb that reads, "When the gala wiped off his anus [he said], ‘I must not arouse that which belongs to my mistress [i.e., Inanna]’".Gordon 1959, no.
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