Quadrant Model of Reality: Quadrant Model of Reality Book 12 Art

Art Chapter

QMRThe Flamboyant Arch is one that is drafted from four points, the upper part of each main arc turning upwards into a smaller arc and meeting at a sharp, flame-like point. These arches create a rich and lively effect when used for window tracery and surface decoration. The form is structurally weak and has very rarely been used for large openings except when contained within a larger and more stable arch. It is not employed at all for vaulting.

QMRGarden

Walkways beside reflecting pool

The complex is set around a large 300-metre (980 ft) square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.[23]

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

QMRDuring the Islamic occupation, the aesthetic aspect of the garden increased in importance, overtaking utility. During this time, aesthetic rules that govern the garden grew in importance. An example of this is the chahār bāgh (چهارباغ), a form of garden that attempts to emulate Eden, with four rivers and four quadrants that represent the world. The design sometimes extends one axis longer than the cross-axis, and may feature water channels that run through each of the four gardens and connect to a central pool.

QMRHumayun's tomb (Persian: آرامگاه همایون Maqbara e Humayun Turkish: Hümayun Kabri) is the tomb of the Mughal Emperor Humayun in Delhi, India. The tomb was commissioned by Humayun's son Akbar)[1][2][3][4][5][6] in 1569-70, and designed by Mirak Mirza Ghiyas, a Persian architect chosen by Bega Begum.[7][8] It was the first garden-tomb on the Indian subcontinent

Char Bagh garden[edit]

Four central water courses define Char Bagh Garden's quadrilateral layout.

While the main tomb took over eight years to build, it was also placed in centre of a 30-acre (120,000 m2) Char Bagh Garden (Four Gardens), a Persian-style garden with quadrilateral layout and was the first of its kind in the South Asia region in such a scale. The highly geometrical and enclosed Paradise garden is divided into four squares by paved walkways (khiyabans) and two bisecting central water channels, reflecting the four rivers that flow in jannat, the Islamic concept of paradise. Each of the four square is further divided into smaller squares with pathways, creating into 36 squares in all, a design typical of later Mughal gardens. The central water channels appear to be disappearing beneath the tomb structure and reappearing on the other side in a straight line, suggesting the Quranic verse, which talks of rivers flowing beneath the 'Garden of Paradise'.[15][23]

The entire tomb and the garden is enclosed within high rubble walls on three sides, the fourth side was meant to be the river Yamuna, which has since shifted course away from the structure. The central walkways, terminate at two gates: a main one in the southern wall, and a smaller one in the western wall. It has two double-storey entrances, the West gate which used now, while the South gate, which was used during Mughal era, now remains closed. Aligned at the centre on the eastern wall lies a baradari, literally a pavilion with twelve doors, which is a building or room with twelve doors designed to allow the free draught of air through it, finally on the northern wall lies a hammam, a bath chamber.[35]

QMRChahar Bagh Boulevard (Persian: چهارباغ, translation: Four Gardens) is a historical avenue in Isfahan constructed in the Safavid era of Iran.

The avenue, historically, is the most famous in all of Persia. It connects the northern parts of the city to the southern sections and is about 6 kilometers long. On the east side of this street, there are the Hasht Behesht and Chehel Sotoun gardens.[1][2]

QMRCharbagh or Chahar Bagh (Persian: چهارباغ, chahār bāgh, "Four Bāghs") is a Persian-style garden layout. The quadrilateral garden is divided by walkways or flowing water into four smaller parts.[1] In Persian, "Chār" means 'four' and "bāgh" means 'garden'.

Contents [hide]

1 History

2 Contemporary

3 References

4 Further reading

5 External links

History[edit]

One of the hallmarks of Persian gardens is the four-part garden laid out with axial paths that intersect at the garden's centre. This highly structured geometrical scheme, called the chahar bagh, became a powerful metaphor for the organization and domestication of the landscape, itself a symbol of political territory.[2]

The Chahrbagh-e Abbasi (or Charbagh Avenue) in Isfahan, Iran, built by Shah Abbas the Great in 1596, and the garden of the Taj Mahal in India are the most famous examples of this style. In the Charbagh at the Taj Mahal, each of the four parts contains sixteen flower beds.

Chahrbagh originated from the time of Achaemenid Persia. Greek historians, such as Herodotus and Xenophon, give extensive accounts of Cyrus the Great's palatial city of Pasargadae and his four-gardens.[3]

In India, the Char Bagh concept in imperial mausoleums is seen in Humayun's Tomb in Delhi in a monumental scale. Humayan's father was the Central Asian Conqueror Babur who succeeded in laying the basis for the Mughal dynasty in the Indian Subcontinent and became the first Mughal emperor. The tradition of paradise garden originated among the Mughals, originally from Central Asia, which is found at Babur's tomb, Bagh-e Babur, in Kabul.[4]

This tradition gave birth to the Mughal gardens design and displayed its high form in the Taj Mahal — built by Mughal emperor Shah Jahan, the great, great, grandson of the Central Asian Conqueror Babur, as a tomb for his favourite Indian wife Mumtaz Mahal, in Agra, India. Here, unlike most such tombs, the mausoleum is not in the centre of the garden, but on its northern end. The garden features Italian cypress trees (Cupressus sempervirens) that symbolize death. Fruit trees in the garden symbolize life. The garden attracts many birds, which are considered one of the features of the garden.

Contemporary[edit]

A charbagh garden is located on the roof top of the Ismaili Centre in South Kensington, London.[5] The Delegation of the Ismaili Imamat, located on Sussex Drive in the Canadian capital Ottawa, Ontario contains a charbagh garden in a uniquely modern setting.

QMRCyrus the Great began building the capital in 546 BC or later; it was unfinished when he died in battle, in 530 or 529 BC. The remains of the tomb of Cyrus' son and successor Cambyses II have been found in Pasargadae, near the fortress of Toll-e Takht, and identified in 2006.[2]

Pasargadae remained the capital of the Achaemenid empire until Cambyses II moved it to Susa; later, Darius founded another in Persepolis. The archaeological site covers 1.6 square kilometres and includes a structure commonly believed to be the mausoleum of Cyrus, the fortress of Toll-e Takht sitting on top of a nearby hill, and the remains of two royal palaces and gardens. Pasargadae Persian Gardens provide the earliest known example of the Persian chahar bagh, or fourfold garden design (see Persian Gardens).

QMrNicolas Poussin, Four seasons of paradise, 1660–64

The paradises were shaped as quadrants

Cyrus has been known for his innovations in building projects; he further developed the technologies that he found in the conquered cultures and applied them in building the palaces of Pasargadae. He was also famous for his love of gardens; the recent excavations in his capital city has revealed the existence of the Pasargad Persian Garden and a network of irrigation canals. Pasargadae was place for two magnificent palaces surrounded by a majestic royal park and vast formal gardens; among them was the four-quartered wall gardens of "Paradisia" with over 1000 meters of channels made out of carved limestone, designed to fill small basins at every 16 meters and water various types of wild and domestic flora. The design and concept of Paradisia were exceptional and have been used as a model for many ancient and modern parks, ever since.[113]

The four-winged guardian figure representing Cyrus the Great, a bas-relief found at Pasargadae on top of which was once inscribed in three languages the sentence "I am Cyrus the king, an Achaemenian."

QMRCyrus the Great created the largest empire the world had yet seen.[8] Under his successors, the empire eventually stretched from parts of the Balkans (Bulgaria-Paeonia) and Thrace-Macedonia in the west, to the Indus Valley in the east. His regal titles in full were The Great King, King of Persia, King of Anshan, King of Media, King of Babylon, King of Sumer and Akkad, and King of the Four Corners of the World.

qMRThe Phoenician alphabet was one of the first (consonantal) alphabets with a strict and consistent form. It is assumed that it adopted its simplified linear characters from an as-yet unattested early pictorial Semitic alphabet developed some centuries earlier in the southern Levant.[55][56] It is likely that the precursor to the Phoenician alphabet was of Egyptian origin, since Middle Bronze Agealphabets from the southern Levant resemble Egyptian hieroglyphs or an early alphabetic writing system found at Wadi-el-Hol in central Egypt.[57][58] In addition to being preceded by proto-Canaanite, the Phoenician alphabet was also preceded by an alphabetic script of Mesopotamian origin called Ugaritic. The development of the Phoenician alphabet from the Proto-Canaanite coincided with the rise of the Iron Age in the 11th century BC.[59]

This alphabet has been termed an abjad — that is, a script that contains no vowels — from the first four letters aleph, beth, gimel, and daleth.

QMRCyrus the Great conquered Phoenicia in 539 BC. The Persians divided Phoenicia into four vassal kingdoms: Sidon, Tyre, Arwad, and Byblos. They prospered, furnishing fleets for the Persian kings. Phoenician influence declined after this. It is likely that much of the Phoenician population migrated to Carthage and other colonies following the Persian conquest. In 350 or 345 BC a rebellion in Sidon led by Tennes was crushed by Artaxerxes III. Its destruction was described by Diodorus Siculus.

QMRBronze religious standard from a pre-Hittite tomb at Alacahöyük, dating to the third millennium B.C., from the Museum of Anatolian Civilizations, Ankara.

It has quadrants

Painting Chapter

QMRFig. 297 – The Lamb, Christ and the opening of the Seven Seals. Petersburg Apocalypse. In: QUISPEL (1979).

The four horses, with their colors, are a metaphor of the periods of time in the history of the world (SIMMONS GREENHILL, 1954):

HORSE COLOR ERA TYPE

—— albus white Adam to Flood ignorantiam

—— rufus red Flood to Incarnation sin/punishment

—— niger black Incarnation to Present martyrs

—— pallidus pale (grey) Beatus of Gerona

Beatus’ ‘Commentaries on the Apocalypse’ was a much copied work from the monastery of Liebana (Cantabria, Spain). The first vellums were written in 776, and a second version was made in 784 AD. They provided an early example of the four horses as a sign of the end of times (fig. 298).

QMRFig. 296 – The opening of the seven seals. Beatus of Gerona, around 975 A.D.; Gerona, Archivo de la catedral I, f. 109. In: MEER, van der (1978). Also in: PALOL & HIRMER (1965).

‘And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see. And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.

And when he had opened the second seal, I heard the second beast say, come and see. And there went out another horse that was red: and power was given to him that sat thereon to take peace from the earth and that they should kill one another: and there was given unto him a great sword.

And when he had opened the third seal, I heard the third beast say, come and see. And I beheld, and lo a black horse: and he that sat on him had a pair of balances in his hand. And I heard a voice in the midst of the four beasts say, A measure of wheat for a penny, and three measures of barley for a penny: and see thou hurt not the oil and the wine.

And when he had opened the fourth seal, I heard the voice of the fourth beast say, come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth’ (Revelation 6: 1 – 8).

Then another three seals are opened, but no horses appear anymore: the fifth with the souls of them that were slain for the word of God; the sixth is the great day of wrath, with earthquakes, a black sun and a moon as blood, when ‘the stars of heaven fell unto the earth’ and finally the seventh seal was opened (Revelation 7: 1 – 3):

‘And after these things I saw four angels standing on the four corners of the earth, holding the four winds of the earth, that the winds should not blow on the earth, or on the sea, nor at any tree. And I saw another angel ascending from the east, having the seal of the living God: and he cried with a loud voice to the four angels, to whom it was given to hurt the earth and the sea, Saying, Hurt not the earth, neither the sea, nor the trees, till we have sealed the servants of our God in their foreheads.’

Music Chapter

QMRQMRSyncopation[edit]

The cornetist Buddy Bolden led a band who are often mentioned as one of the prime originators of the style later to be called "jazz". He played in New Orleans around 1895–1906, before developing a mental illness; there are no recordings of him playing. Bolden's band is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[81] As the example below shows, the second half of the big four pattern is the habanera rhythm.

Dance Chapter

This dance teacher taught four booty pops. The fourth one was advanced

this dance teacher does everything in two twos, which is fours

How to Booty Pop/TWERK

youtube.com

https://www.youtube.com/watch?v=7yW2VU1Q9QM

How to do a Body roll, booty popping, twerking, combo

youtube.com

https://www.youtube.com/watch?v=uRrXqX6FdL4

this dance teacher does everything in two twos, which is fours

Literature Chapter

QMRGerhoh of Reichersberg’s historical writings showed a concern about degeneration and decline. The support of the fourfold way of thinking slips away in his expectation of the worst. At the end of his life – with nothing left to loose – he wrote his ‘ultimate’ book under the title ‘De quarta Vigilia noctis’ (1167)(The four watches of the night). The theme is the Biblical story of Jesus’ walking on the water (St. Matthew 14 : 22 – 33; St. Mark 6 : 45 – 52; St. John 6 : 16 21) in the fourth watch of the night.

Gerhoh conveyed the synoptic account of the miracle into a four-age pattern of the Church and distinguished four periods (quadrants) in history. The story of the enjoyment of power and materialism of pope Gregory VII, and his conflict with Henry IV (1056 – 1106) – which was relevant just before his lifetime – became known as the Investiture Controversy (HEER, 1961; McGINN, 1979). The nature of the schisms – due to ‘Habsucht und Hochmut‘ (avarice and arrogance) – grew into serious disruptions. The twenty-seventh schism of 1130, under Pope Innocent II (fig. 141 left), was a relative minor one, but the twenty-eighth schism of 1159, under Pope Alexander III (fig. 141 right), lasted for five anti-popes.

God assists believers in the first three watches, but in the fourth watch (avarice) there is no aid. This representation was linked with a world view as expressed in the Revelation of St. John (Ch. 8), where one quarter of a circle is black (fig. 142).

The fourth square is always different

Fig. 142 – A square in a circle as a concept of a tetradic world view. One quarter of the circle is black, referring to a text in the Revelation of St. John dealing with the seven seals. This is the upper part of an illustration in the Saint-Pierre de Roda Bible, Bibliotheque Nationale, Paris. In: DURLIAT (1963).

The ‘Tetractus‘-age (1000 – 1350) was a time of transition, reflected in the definition of two cultural style groups: the Roman and the Gothic. This is not the place to elaborate on their specific features, but some references will be made to their position within the history of division thinking.

The denominator of ‘Roman art’ was first made by Auguste le Prevost in 1819 (SALET, 1968; p. 210) in a wide ‘romantic’ setting: ‘il englobait toutes les architectures et toutes les manifestations plastiques depuis la fin de l’empire romain jusqu’a la naissance de cet art gothique que l’on appelait alors ogival‘ (it encompasses all architecture and all sculptural display from the end of the Roman empire until the birth of the Gothic art which was then called ogival (typified by the ogive or lancet arch). This definition circumscribed in its widest sense, all the cultural means of expression between 500 and 1200 AD (fig. 143).

Fig. 143 – Some of the many Roman(esque) tetradic motifs, which were used as ornamentation on various items in Germany and France. 1. Enamelled copper reliquary chest of Emperor Heinrich, twelfth century. The four medallions depict the saints St. Mauritius, St. Sebastian, St. Eustachius and St. Gereon. The ‘Hundorp Chest’ from the Gudbrandsdal Valley in Norway has eleven similar enamel plaques that show Christ, saints and the symbols of the Evangelists. They were made in Limoges in the mid thirteenth century. 2. A tombstone from Cluny, twelfth century; 3. Roman frieze and copestone; 4. Different Roman ornaments. In: GODEFROY (1912).

The timing of the first denomination of the ‘Roman art’, as a cultural entity is important for the present (quadralectic) approach. The classification was given at a time when the European history entered a new phase around the year 1800. Apparently there was some sort of instinctive connection between the expression of the ‘l’art romain’ and the sentiments at the beginning of the nineteenth century.

Dante Alighieri (1265 – 1321) touched the spirit of the time in his ‘Divina Commedia‘ (Divine Comedy), a three-parted vision of heaven, purgatory and hell. He encountered in his wanderings through heaven – assisted by Vergil – the twelve chosen one’s in the Fourth Heaven – the place of the wise man: St Thomas of Aquinas, Albert the Great, Gratianus, Petrus Lombardus, Salomon, Dionysius the Areopagite, Orosius, Boethius, Isidore of Seville, Bede, Richard of St. Victor and Siger of Brabant. They were, more or less, the heroes of tetradic imagination. Dante paid homage to them, because these persons contributed to the propagation of a balanced and differentiated view, which could be called wisdom.

The bulky second book of the ‘Quadripartitum numerorum‘ deals with the number theory (like subtractione fractionum, multiplicatione fractionum novem modis, and divisione fractionum novem modis).

The third book discussed the relations (ratio) and algebra according to Al-Kwarizmi. This book was followed by a list of forty-five questions and a ‘semiliber‘. The fourth book is a compilation of different kinds of subjects, mostly derived from the ‘Liber Abaci’ (1202) of Leonard of Pisa.

QMRWorks like the earlier-mentioned, anonymous ‘Tractatus de Quaternario‘ offered, in the eleventh century, the fourfold way of thinking as a cosmological model of consolation. Its conceptual image catered for individual and collective happiness and misery and was, conscious or unconscious, used by innumerable unnamed people to come to terms with their own existence in place and time.

The winds of change eroded the confidence in a balanced system a century later. This transformation is best illustrated in the life of Gerhoh of Reichersberg (1093 – 1169), abbot of the monastery of the same name in Germany (fig. 140). He experienced the immanent changes (in division-thinking) in his own lifetime and tried, in a last effort, to hang on to the established/conservative values, embedded in the Christian catholic faith before the struggle for worldly power.

QMRGerhoh of Reichersberg interpreted the parable of the ‘Watches of the Night’ as a four-fold historical model (MEUTHEN, 1959; p. 129):

THE FOUR WATCHES OF THE NIGHT

1. first watch – martyrs triumph over persecution;

2. second watch – holy confessors’ triumph over heretics;

3. third watch – struggle of the holy preachers of morality

(like Gregory the Great, pope between 590 – 604 AD)

4. fourth watch – new avarice in the city of Rome.

QMRCanopic jars were used by the Ancient Egyptians during the mummification process to store and preserve the viscera of their owner for the afterlife. They were commonly either carved from limestone or were made of pottery.[1] These jars were used by the Ancient Egyptians from the time of the Old Kingdom up until the time of the Late Period or the Ptolemaic Period, by which time the viscera were simply wrapped and placed with the body.[2] The viscera were not kept in a single canopic jar: each jar was reserved for specific organs. The name "canopic" reflects the mistaken association by early Egyptologists with the Greek legend of Canopus.[3]

Canopic jars of the Old Kingdom were rarely inscribed, and had a plain lid. In the Middle Kingdom inscriptions became more usual, and the lids were often in the form of human heads. By the Nineteenth dynasty each of the four lids depicted one of the four sons of Horus, as guardians of the organs.

The canopic jars were four in number, each for the safekeeping of particular human organs: the stomach, intestines, lungs, and liver, all of which, it was believed, would be needed in the afterlife. There was no jar for the heart: the Egyptians believed it to be the seat of the soul, and so it was left inside the body.[n 1]

Hieroglyphs for the four sons of Horus used on an Egyptian canopic jar

The design of canopic jars changed over time. The oldest date from the Eleventh or the Twelfth dynasty, and are made of stone or wood.[6] The last jars date from the New Kingdom. In the Old Kingdom the jars had plain lids, though by the First Intermediate Period jars with human heads (assumed to represent the dead) began to appear.[1] Sometimes the covers of the jars were modeled after (or painted to resemble) the head of Anubis, the god of death and embalming. By the late Eighteenth dynasty canopic jars had come to feature the four sons of Horus.[7] Many sets of jars survive from this period, in alabaster, aragonite, calcareous stone, and blue or green glazed porcelain.[6] The sons of Horus were also the gods of the cardinal compass points.[8] Each god was responsible for protecting a particular organ, and was himself protected by a companion goddess. They were:

Hapi, the baboon-headed god representing the north, whose jar contained the lungs and was protected by the goddess Nephthys

Duamutef, the jackal-headed god representing the east, whose jar contained the stomach and was protected by the goddess Neith

Imseti, the human-headed god representing the south, whose jar contained the liver and was protected by the goddess Isis

Qebehsenuef, the falcon-headed god representing the west, whose jar contained the intestines and was protected by the goddess Serqet.[9]

Early canopic jars were placed inside a canopic chest and buried in tombs together with the sarcophagus of the dead.[6] Later, they were sometimes arranged in rows beneath the bier, or at the four corners of the chamber.[6] After the early periods there were usually inscriptions on the outsides of the jars, sometimes quite long and complex.[10] The scholar Sir Ernest Budge quoted an inscription from the Saïte or Ptolemaic period that begins: "Thy bread is to thee. Thy beer is to thee. Thou livest upon that on which Ra lives." Other inscriptions tell of purification in the afterlife.[11]

In the Third Intermediate Period and later, dummy canopic jars were introduced. Improved embalming techniques allowed the viscera to remain in the body; the traditional jars remained a feature of tombs, but were no longer hollowed out for storage of the organs.[12]

Copious numbers of the jars were produced, and surviving examples of them can be seen in museums around the world

QMRThe saving sister of Osiris[edit]

Nephthys - Greco-Roman era painted image on a linen and tempera shroud - c. 300-200 B.C. - Metropolitan Museum of Art

Isis - Greco-Roman era painted image on a linen and tempera shroud - c. 300-200 B.C. - Metropolitan Museum of Art

Nephthys plays an important role in the Osirian myth-cycle.

It is Nephthys who assists Isis in gathering and mourning the dismembered portions of the body of Osiris, after his murder by the envious Set. Nephthys also serves as the nursemaid and watchful guardian of the infant Horus. The Pyramid Texts refer to Isis as the "birth-mother" and to Nephthys as the "nursing-mother" of Horus. Nephthys was attested as one of the four "Great Chiefs" ruling in the Osirian cult-center of Busiris, in the Delta[14] and she appears to have occupied an honorary position at the holy city of Abydos.

QMRThe Four Greats (in Danish and Norwegian De Fire Store) is a term used for four of the most influential Norwegian writers of the late 19th century.

The Four Greats are:

Bjørnstjerne Bjørnson

Henrik Ibsen

Alexander Kielland

Jonas Lie.

Originally a publicity gimmick introduced by their publisher, Gyldendal, the term stuck, and is still widely used for these writers, all of whom were realist writers.

Bjørnson, Ibsen and Lie all attended the same school in Christiania, Heltberg Latin School (Heltbergs Studentfabrikk), to prepare for their university matriculation.

QMRBy the late 19th century, in the Golden Age of Norwegian literature, the so-called "Great Four" emerged: Henrik Ibsen, Bjørnstjerne Bjørnson, Alexander Kielland, and Jonas Lie. Bjørnson's "peasant novels", such as En glad gutt (A Happy Boy) and Synnøve Solbakken, are typical of the Norwegian romantic nationalism of their day. Kielland's novels and short stories are mostly naturalistic. Although an important contributor to early romantic nationalism, (especially Peer Gynt), Henrik Ibsen is better known for his pioneering realistic dramas such as The Wild Duck and A Doll's House. They caused an uproar because of his candid portrayals of the middle classes, complete with infidelity, unhappy marriages, and corrupt businessmen.

QMRRubáiyát of Omar Khayyám

Omar Khayyám was a notable poet during the reign of the Seljuk ruler Malik-Shah I and his contributions to the developments of mathematics, astronomy and philosophy inspired later generations.

Scholars believe he wrote about a thousand four-line verses or rubaiyat. He was introduced to the English-speaking world through the Rubáiyát of Omar Khayyám, which are poetic, rather than literal, translations by Edward FitzGerald (1809–1883). Other English translations of parts of the rubáiyát (rubáiyát meaning "quatrains") exist, but FitzGerald's are the most well known.

A well decorated plaque containing poems from the Rubáiyát of Omar Khayyám.

Ironically, FitzGerald's translations reintroduced Khayyám to Iranians "who had long ignored the Neishapouri poet". A 1934 book by one of Iran's most prominent writers, Sadeq Hedayat, Songs of Khayyám (Taranehha-ye Khayyám), is said to have "shaped the way a generation of Iranians viewed" the poet.[37]

Omar Khayyám's poems have been translated into many languages.[38] Many translations were made directly from Persian, more literal than the translation by Edward Fitzgerald.[38] The following samples are from FitzGerald's translation.

QMRRubāʿī (Persian: رباعی rubāʿī)[1] is a poem, or verse of a poem, consisting of four lines. It refers specifically to a Persian quatrain, or its derivative form in English and other languages. The plural form of the word, رباعيات rubāʿiyāt, often anglicised as rubaiyat, is used for a collection of such quatrains.[2] There are a number of possible rhyme schemes to the rubaiyat form, e.g. AABA, AAAA.[3] In Persian verse, the ruba'i is usually written as a four-line (or two-couplet) poem, with rhymes at the middle and end of each line.[4][5][6]

An author described;

" basically Ruba'i belongs to Persia and its metres had been created by a non-Arab poet Abul Hassan Rodeki and that was also brought into practice by non-Arab and Urdu poets. Ruba'i (quatrain) has special metres containing 24 categories (one can say "divisions" or "branches" too). Ruba'i can only be composed in those special metres, not any other normal meter. Ruba'i consists of only four lines, its two lines called 'Sehr' (Stanza). Ruba'i's first and second line must end in rhyme (example-as behold and cold.), third without rhyme, but within 24 special metres, that cannot be changed and fourth line again in the selected rhyme, but that fourth line (misra) contains high, strong and complete and deep meanings, that must be related with above three lines. These should be addressed only one point or subject, not as like ghazals or other forms of the poetry have."[7]

This is an example of a ruba'i from Rūmī's Dīwān-i Shams.

Anwār-i Ṣalāḥu'd-Dīn bar angēkhta bād

Dar dīda u jān-i ʿāshiqān rēkhta bād

Har jān ki laṭīf gasht u az luṭf guzasht

Bā khāk-i Ṣalāḥu'd-Dīn dar āmēkhta bād

"May the splendors of Salahuddin be roused,

And poured into the eyes and souls of the lovers.

May every soul that has become refined and has surpassed refinement

Be mingled with the dust of Salahuddin!"[8]

Ruba'i in English[edit]

The verse form AABA as used in English verse is known as the Rubaiyat Quatrain due to its use by Edward FitzGerald in his famous 1859 translation, The Rubaiyat of Omar Khayyam. Algernon Charles Swinburne, one of the first admirers of FitzGerald's translation of Khayyam's medieval Persian verses, was the first to imitate the stanza form, which subsequently became popular and was used widely, as in the case of Robert Frost's 1922 poem "Stopping by Woods on a Snowy Evening".

Fitzgerald's translation became so popular by the turn of the century that hundreds of American humorists wrote parodies using the form and, to varying degrees, the content of his stanzas, including The Rubaiyat of Ohow Dryyam, The Rubaiyat of A Persian Kitten, The Rubaiyat of Omar Cayenne and The Rubaiyat of Omar Khayyam, Jr.

sample: Goblet a Ruba'i of Omar Khayyám translated by Edward FitzGerald:[9]

At dawn came a calling from the tavern

Hark drunken mad man of the cavern

Arise; let us fill with wine one more turn

Before destiny fills our cup, our urn.

In extended sequences of ruba'i stanzas, the convention is sometimes extended so that the unrhymed line of the current stanza becomes the rhyme for the following stanza.[10] The structure can be made cyclical by linking the unrhymed line of the final stanza back to the first stanza: ZZAZ.[11] These more stringent systems were not, however, used by FitzGerald in his Rubaiyat.

QMRThe Rubáiyát of Omar Khayyám (Persian: رباعیات عمر خیام) is the title that Edward FitzGerald gave to his translation of a selection of poems, originally written in Persian and numbering about a thousand, attributed to Omar Khayyám (1048–1131), a Persian poet, mathematician, and astronomer. A ruba'i is a two-line stanza with two parts (or hemistichs) per line, hence the word rubáiyát (derived from the Arabic language root for "four"), meaning "quatrains".

QMR Rumi is a very famous Persian poet known for his quatrains. Dīvān-e Kabīr or Dīvān-e Šams-e Tabrīzī (The Works of Šams Tabrīzī) (Persian: دیوان شمس تبریزی) or Dīvān-e Šams is one of Mawlānā Jalāl-ad-Dīn Muhammad Balkhī's masterpieces. A collection of lyric poems that contains more than 40,000 verses, it is written in the New Persian language and is considered one of the greatest works of Persian literature.

Dīvān-e Kabīr ("the great divan") contains poems in several different styles of Eastern-Islamic poetry (e.g. odes, eulogies, quatrains, etc.). It contains 44,282 lines (according to Foruzanfar's edition,[1] which is based on the oldest manuscripts available): 3,229 odes, or ghazals (total lines = 34,662); 44 tarji-bands (total lines = 1698); and 1,983 quatrains (total lines = 7932).[2] Although most of the poems are in New Persian, there are also some in Arabic, and a small number of mixed Persian/Greek and Persian/Turkish poems. Dīvān-e Šams-e Tabrīzī is named in honour of Rumi's spiritual teacher and friend Shams Tabrizi.

Rumi's other major work is the Dīwān-e Kabīr (Great Work) or Dīwān-e Shams-e Tabrīzī (The Works of Shams of Tabriz; دیوان شمس تبریزی), named in honour of Rumi's master Shams. Besides approximately 35000 Persian couplets and 2000 Persian quatrains,[54] the Divan contains 90 Ghazals and 19 quatrains in Arabic,[55] a couple of dozen or so couplets in Turkish (mainly macaronic poems of mixed Persian and Turkish)[56][57] and 14 couplets in Greek (all of them in three macaronic poems of Greek-Persian).[58][59][60]

Further information: Diwan-e Shams-e Tabrizi

It is undeniable that Rumi was a Muslim scholar and took Islam seriously. Nonetheless, the depth of his spiritual vision extended beyond narrow sectarian concerns. One rubaiyat reads:

در راه طلب عاقل و دیوانه یکی است

در شیوه‌ی عشق خویش و بیگانه یکی است

آن را که شراب وصل جانان دادند

در مذهب او کعبه و بتخانه یکی است

Quatrain 305

On the seeker’s path, wise men and fools are one.

In His love, brothers and strangers are one.

Go on! Drink the wine of the Beloved!

In that faith, Muslims and pagans are one. [65]

QMRMajor works

An Ottoman era manuscript depicting Rumi and Shams-e Tabrizi.

Rumi's poetry is often divided into various categories: the quatrains (rubayāt) and odes (ghazal) of the Divan, the six books of the Masnavi. The prose works are divided into The Discourses, The Letters, and the Seven Sermons

QMRStopping by Woods on a Snowy Evening

From Wikipedia, the free encyclopedia

"Stopping by Woods on a Snowy Evening" is a poem written in 1922 by Robert Frost, and published in 1923 in his New Hampshire volume. Imagery, personification, repetition are prominent in the work. In a letter to Louis Untermeyer, Frost called it "my best bid for remembrance".[1]

Frost wrote the poem in June 1922 at his house in Shaftsbury, Vermont. He had been up the entire night writing the long poem "New Hampshire" and had finally finished when he realized morning had come. He went out to view the sunrise and suddenly got the idea for "Stopping by Woods on a Snowy Evening".[1] He wrote the new poem "about the snowy evening and the little horse as if I'd had a hallucination" in just "a few minutes without strain."[2]

The poem is written in iambic tetrameter in the Rubaiyat stanza created by Edward Fitzgerald. Each verse (save the last) follows an a-a-b-a rhyming scheme, with the following verse's a's rhyming with that verse's b, which is a chain rhyme (another example is the terza rima used in Dante's Inferno.) Overall, the rhyme scheme is AABA-BBCB-CCDC-DDDD.[3]

The text of the poem describes the thoughts of a lone rider, pausing at night in his travel to watch snow falling in the woods. It ends with him reminding himself that, despite the loveliness of the view, "I have promises to keep, / And miles to go before I sleep, / And miles to go before I sleep."

Use in eulogies[edit]

In the early morning of November 23, 1963, Sid Davis of Westinghouse Broadcasting reported the arrival of President John F. Kennedy's casket to the White House. As Frost was one of the President's favorite poets, Davis concluded his report with a passage from this poem but was overcome with emotion as he signed off.[4][5]

At the funeral of former Canadian prime minister Pierre Trudeau, on October 3, 2000, his eldest son Justin rephrased the last stanza of this poem in his eulogy: "The woods are lovely, dark and deep. He has kept his promises and earned his sleep."[6]

QMRThe Argentine education system consists of four levels:[260]

An initial level for children between 45 days to 5 years old, with the last year being compulsory.

An elementary or lower school mandatory level lasting 6 or 7 years.[S] In 2010 the literacy rate was 98.07%.[261]

A secondary or high school mandatory level lasting 5 or 6 years.[S] In 2010 18.3% of people over age 15 had completed secondary school.[262]

A higher level, divided in tertiary, university and post-graduate sub-levels. in 2013 there were 47 national public universities across the country, as well as 46 private ones.[263] In 2010 6.3% of people over age 20 had graduated from university.[262] The public universities of Buenos Aires, Córdoba, La Plata, Rosario, and the National Technological University are some of the most important.

QMRThe Indo-Iranian languages or Indo-Iranic languages,[2][3] or Aryan languages,[4] constitute the largest and easternmost extant branch of the Indo-European language family. It has more than 1 billion speakers, stretching from the Caucasus (Ossetian) and the Balkans (Romani) eastward to Xinjiang (Sarikoli) and Assam (Assamese), and south to the Maldives (Maldivian).

The common ancestor of all of the languages in this family is called Proto-Indo-Iranian - also known as Common Aryan - which was spoken in approximately the late 3rd millennium BC. The three branches of modern Indo-Iranian languages are Indo-Aryan, Iranian, and Nuristani. Additionally, sometimes a fourth independent branch, Dardic, is posited, but recent scholarship in general places Dardic languages as archaic members of the Indo-Aryan branch.[5]

QMRCortázar published four novels during his lifetime: Los premios (The Winners, 1960), Hopscotch (Rayuela, 1963), 62: A Model Kit (62 Modelo para Armar, 1968), and Libro de Manuel (A Manual for Manuel, 1973).

QMRHer life was portrayed in a film for TV in 1984 "Four Faces of Victoria", directed by Oscar Barney Finn with four actresses playing the different ages of Victoria (Carola Reyna, Nacha Guevara, Julia von Grolman and China Zorrilla).

QMRFour of the most influential Argentine writers. Top-left to bottom-right: Julio Cortázar, Victoria Ocampo, Jorge Luis Borges and Adolfo Bioy Casares

Cinema Chapter

QMRThe Fourth Man (Dutch: De vierde man) is a 1983 Dutch suspense film directed by Paul Verhoeven, based on the novel De vierde man by Gerard Reve. The film stars Jeroen Krabbé and Renée Soutendijk in the lead roles. It was Verhoeven's last film made in the Netherlands before he established himself in Hollywood; he would later return to make 2006's Black Book. The film was selected as the Dutch entry for the Best Foreign Language Film at the 56th Academy Awards, but was not accepted as a nominee.

QMRMember of the EU.[a] The Kingdom of the Netherlands consists of four constituent countries:

Netherlands

Aruba

Curaçao

Sint Maarten

QMRUnder Compact of Free Association with the United States. The Federated States of Micronesia is a federation of four states.

QMRThe two main peoples known as "Eskimo" are: the Inuit of Canada, Northern Alaska (sub-group "Inupiat"), and Greenland; and the Yupik of eastern Siberia and Alaska. The Yupik comprise speakers of four distinct Yupik languages: one used in the Russian Far East and the others among people of Western Alaska, Southcentral Alaska and along the Gulf of Alaska coast. A third northern group, the Aleut, is closely related to the Eskimo. They share a relatively recent, common ("Paleo-Eskimo") ancestor, and a language group (Eskimo-Aleut).

The four Yupik languages, by contrast, including Alutiiq (Sugpiaq), Central Alaskan Yup'ik, Naukan (Naukanski), and Siberian Yupik, are distinct languages with phonological, morphological, and lexical differences. They demonstrate limited mutual intelligibility.[28] Additionally, both Alutiiq and Central Yup'ik have considerable dialect diversity. The northernmost Yupik languages – Siberian Yupik and Naukanski Yupik – are linguistically only slightly closer to Inuit than is Alutiiq, which is the southernmost of the Yupik languages. Although the grammatical structures of Yupik and Inuit languages are similar, they have pronounced differences phonologically. Differences of vocabulary between Inuit and any one of the Yupik languages are greater than between any two Yupik languages.[29] Even the dialectal differences within Alutiiq and Central Alaskan Yup'ik sometimes are relatively great for locations that are relatively close geographically.

QMRLinguistic contrasts among sibilants[edit]

Not including differences in manner of articulation or secondary articulation, some languages have as many as four different types of sibilants. For example, Northern Qiang and Southern Qiang have a four-way distinction among sibilant affricates /ts/ /tʂ/ /tʃ/ /tɕ/, with one for each of the four tongue shapes. Toda also has a four-way sibilant distinction, with one alveolar, one palato-alveolar, and two retroflex (apical postalveolar and subapical palatal).

The now-extinct Ubykh language was particularly complex, with a total of 27 sibilant consonants. Not only all four tongue shapes were represented (with the palato-alveolar appearing in the laminal "closed" variation) but also both the palato-alveolars and alveolo-palatals could additionally appear labialized. Besides, there was a five-way manner distinction among voiceless and voiced fricatives, voiceless and voiced affricates, and ejective affricates. (The three labialized palato-alveolar affricates were missing, which is why the total was 27, not 30.) The Bzyp dialect of the related Abkhaz language also has a similar inventory.

Some languages have four types when palatalization is considered. Polish is one example, with both palatalized and non-palatalized laminal denti-alveolars, laminal postalveolar (or "flat retroflex"), and alveolo-palatal ([s̪ z̪] [s̪ʲ z̪ʲ] [s̠ z̠] [ɕ ʑ]). Russian has the same surface contrasts, but the alveolo-palatals are arguably not phonemic. They occur only germinate whereas the retroflex consonants never occur geminate, which suggests that both are allophones of the same phoneme.

Aramaic classically has a set of four sibilants (Ancient Aramaic may have had six):

ס, שׂ /s/ (as in English "sea"),

ז /z/ (as in English "zero"),

שׁ /ʃ/ (as in English "ship"),

צ /sˤ/ (the emphatic Ṣāḏê listed above).

QMRBiblical Aramaic is the Aramaic found in four discrete sections of the Hebrew Bible:

Ezra 4:8–6:18 and 7:12–26 – documents from the Achaemenid period (5th century BC) concerning the restoration of the temple in Jerusalem.

Daniel 2:4b–7:28 – five subversive tales and an apocalyptic vision.

Jeremiah 10:11 – a single sentence in the middle of a Hebrew text denouncing idolatry.

Genesis 31:47 – translation of a Hebrew place-name.

QMRAfter the removal of the Antigonid dynasty by the Romans in 167 BC, it is possible that the synedrion remained, unlike the Assembly, representing the sole federal authority in Macedonia after the country's division in four merides.

Regional districts (Merides)

The creation of an intermediate territorial administrative level between the central government and the cities should probably be attributed to Philip II: this reform corresponded with the need to adapt the kingdom's institutions to the great expansion of Macedon under his rule. It was no longer practical to convene all the Macedonians in a single general assembly, and the answer to this problem was the creation of four regional districts, each with a regional assembly. These territorial divisions clearly did not follow any historical or traditional internal divisions; they were simply artificial administrative lines.

This said, it should be noted that the existence of these districts is not attested with certainty (by numismatics) before the beginning of the 2nd century BC.

QMRFour Lions is a 2010 British black comedy film, directed by Chris Morris in his directorial debut, and written by Morris, Sam Bain, and Jesse Armstrong.[3] The film is a jihad satire following a group of homegrown terrorist jihadis from Sheffield, South Yorkshire, England.

Quadrant Model of Reality

Monday, February 22, 2016

Quadrant Model of Reality Book 12 Art

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