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Posted: 02 July 2009 09:31 AM   [ Ignore ]   [ # 61 ]
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Though only plural designation ever found in such biblical Hebrew context שָׁמַיִם shāmáyim “heaven or heavens” can either appear with one cardinal or the other more figurative sense, as do respectively prologue Genesis 1·1 8sq 14sq 17 & 20 v. infra and still to follow ibid. 7·11; 8·2 אֲרֻבֹּת הַשָּׁמַיִם ’arubbōth hasshāmáyim “windows of heaven/rainy season”:

                      א   בראשית ברא אלהים את השמים ואת הארץ׃

1.    bərēshīth bārā ’Əlōhīm ’eth hasshāmáyim wə‘eth hā’ârets.

       “In the beginning God created the heavens and the earth.”

       ח   ויקרא אלהים לרקיע שמים ויהי־ערב ויהי־בקר יום שני׃  פ

8.    wayyiqrā ’Əlōhīm lārāqîa‘ shāmâyim wáyhī ‘érev wáyhī vôqer yōm shēnī.  pē

       “And God called the firmament Heaven and ’twas evening and ’twas morning second day.”

                               ט   ויאמר אלהים יקוו המים מתחת השמים

                                 אל־מקום אחד ותראה היבשה ויהי־כן׃

9.    wayyômer ’Əlōhīm yiqqāwū hammáyim mittáchath hasshāmáyim
       ’el māqōm echāth wətherā’ē hayyabbāshā wáyhī chēn.

       “And God said, let the waters from under the heavens gather unto one place, and let the dry land appear and ’twas so.”

         יד  ויאמר אלהים יהי מארת ברקיע השמים להבדיל בין היום

                       ובין הלילה והיו לאתת ולמועדים ולימים ושנים׃

14.  wayyômer ’Əlōhīm yəhī mə’ōrōth birqîa‘ hasshāmáyim ləhavdīl bēn hayyōm
       ūvēn hallâylā wəhāyū lə’ōthōth ūlmō‘athīm ūlyāmīm wəshānīm.

       “And God said, let there be lights in the firmament of heaven to divide between the day and the night, and let them be for signs and for seasons and for days and years.”

              טו  והיו למאורת ברקיע השמים להאיר על־הארץ ויהי־כן׃

15.  wəhāyū lim’ōrōth birqîa‘ hasshāmáyim ləhā’īr ‘al hā’ârets wáyhī chēn.

       “And let them be for lights in the firmament of heaven to shine upon the earth and ’twas so.

                 יז  ויתן אתם אלהים ברקיע השמים להאיר על־הארץ׃

17.  wayyittēn ’ōthām ’Əlōhīm birqîa‘ hasshāmâyim ləhā’īr ‘al hā’ârets.

       “And God set them in the firmament of heaven to shine upon the earth.”

                      כ   ויאמר אלהים ישרצו המים שרץ נפש חיה ועוף

                                יעופף על־הארץ על־פני רקיע השמים׃

20.  wayyômer ’Əlōhīm yishrətsū hammáyim shérets néfesh chayyā wə‘ōf
       yə‘ōfēf ‘al hā’ârets ‘al pənē rəqîa‘ hasshāmâyim.

       “And God said, let the waters teem aswarm of living creatures, and fowl fly together above the earth before the firmament of heaven.

n.b. special thanks & consideration due most of all to the Blue Letter Bible Institute; Yahoo!® Geocities SubCo “Elucidation of Genesis 1”; both the Westminister Hebrew Institute and The Internet Sacred Text Archive together since 2006; and, finally of course, to much learned Jutta Körner Hebräische Studiengrammatik 4.ed (ISBN 3‑324-00099‑8) Leipzig, Germany 1990.

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1.  הכל הבל׃ hakkōl hâvel Qohelet 1:2 “all (is) vanity” KJV loc. cit.
2.  [οἱ] ἔσχατοι πρῶτοι [Textus Receptus] Mark 10:31 novissimi primi Vulg. “last (shall be) first” ibid.
3.  ’Tis the path you take in life that’s more important!  Sufi wisdom

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Posted: 02 July 2009 09:54 AM   [ Ignore ]   [ # 62 ]
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I save this, hope you don’t mind: love the Hebrew, even tho’ I cannot read it.

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Posted: 02 July 2009 01:55 PM   [ Ignore ]   [ # 63 ]
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ACB - 08 December 2008 04:59 PM

Consider the following two sentences:

1. To play the character well, you must become him in your imagination.
2. To play the character well, you must become he in your imagination.

‘Become’ is a linking verb (copula), so the pronoun that follows it ought to be in the subjective case.  But ‘him’ is the objective form.  So why is sentence 1 right and sentence 2 wrong?  Or is the second sentence formally correct?  If so, would it also be grammatically correct to say ‘He pretended to become I’?

First of all, intransitive selection “become” figures not so much to be a plain ordinary copula as the fientive verb, synonymous with prepositional construct “turn into”:

1.  To play the character well, you must become him in your imagination.

2.  To play the character well, you must turn into him using your imagination.

Both English diction and grammar seem heavily influenced first by continental Norman French langue d’oïl and, somewhat later, indigenous Anglo-French during the Middle English period from 1066 to the fifteenth century of notable author William Caxton 1415-22 born to 1492 and official Chancery Standard of King Henry V 1413-22.  Now highly frequent use of disjunctive pronouns can also be very well said to characterize French grammar & composition, such as the object moi pronoun found in quaint Modern French expression c’est moi “It’s me!”:

1.  To play the character well, you must become him in your imagination.

2.  Que jouer bien le personnage, on doit lui devenir en l’imagination.

Here disjunctive or stressed mod.Fr pronoun lui “him” agrees with the indefinite subject on “one, you etc.

Thank you for your very informative reply.

If one wished to pluralise ‘character’ in French, would the following be correct?

Que jouer bien les personnages, on doit eux devenir en l’imagination.

Vraiment bon monsieur le vôtre français est par excellence, tout à fait!

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1.  הכל הבל׃ hakkōl hâvel Qohelet 1:2 “all (is) vanity” KJV loc. cit.
2.  [οἱ] ἔσχατοι πρῶτοι [Textus Receptus] Mark 10:31 novissimi primi Vulg. “last (shall be) first” ibid.
3.  ’Tis the path you take in life that’s more important!  Sufi wisdom

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Posted: 02 July 2009 02:13 PM   [ Ignore ]   [ # 64 ]
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Saparris you need to pay attention to this one.

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Posted: 05 July 2009 04:46 PM   [ Ignore ]   [ # 65 ]
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Now I understand at least one Japanese kabuki version of historic drama 忠臣蔵【ちゅうしんぐら】 Chūshingura “Treasury of Loyal Retainers or Forty-seven Ronin” has rather fashionably been, for the most part, attributed to such undying and fatal loyalty as so often said to exist between true friends—how utterly fanciful!

grace4u - 22 January 2009 03:18 PM

i’m not sure if the theatre i went to was Kabuki or not. but i went to a play when i visited Japan almost a year ago. it was one of the “Love Suicides” plays. they always make me cry, but i love ‘em! tongue wink

Then let’s see: moralizing themes, fancy costumes, slap dash makeup, tonalized recitation, writhing choreography, enchanting melodrama, traditional ambience—yep, good ol’ kabuki theater or some avant-guard derivative thereof!

there’s another type of Japanese play i once watched on tv before. i can’t remember what the type of play is called other than it starts with a “B.” but in the play, they use life-size puppets with at least 3 people operating them.

Ah, lifesize puppet theater bunraku also features its own peculiar history of Chūshingura isotopes yet another traditional form of dramatic amusement performed in lovely Japan!

yes! that’s what it’s called! Bunraku. i’ve been stumbling on myself trying to remember what it was called since i first saw it.

[n.b. this introductory post to be hereby continued v. infra]

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1.  הכל הבל׃ hakkōl hâvel Qohelet 1:2 “all (is) vanity” KJV loc. cit.
2.  [οἱ] ἔσχατοι πρῶτοι [Textus Receptus] Mark 10:31 novissimi primi Vulg. “last (shall be) first” ibid.
3.  ’Tis the path you take in life that’s more important!  Sufi wisdom

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Posted: 05 July 2009 08:56 PM   [ Ignore ]   [ # 66 ]
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Le langage est source de malentendus.

What does it mean?

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Musing lazily on love..♥

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Posted: 06 July 2009 08:13 AM   [ Ignore ]   [ # 67 ]
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sleeper - 05 July 2009 08:56 PM

Le langage est source de malentendus.

What does it mean?

Language is a source of misunderstanding 
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Posted: 06 July 2009 02:28 PM   [ Ignore ]   [ # 68 ]
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That’s way back tower of Babel.

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Musing lazily on love..♥

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Posted: 06 July 2009 02:34 PM   [ Ignore ]   [ # 69 ]
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That is for certain.

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Posted: 06 July 2009 03:18 PM   [ Ignore ]   [ # 70 ]
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“A riot is the language of the unheard.” A quotable quotes from Martin Luther King, Jr.

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Musing lazily on love..♥

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Posted: 06 July 2009 05:29 PM   [ Ignore ]   [ # 71 ]
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And he was for peaceful change in all.

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Posted: 07 July 2009 08:47 AM   [ Ignore ]   [ # 72 ]
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Kotaro - 01 February 2009 10:40 AM

I have a cousin in Osaka who is quite a young prodigy of Bunraku. He likes to do plays for the entertainment of the neighborhood of which he lives. His most creative puppet is his own version of Blind Kagekiyo. Ever heard of the original?

Shiro - 01 February 2009 11:11 AM

hey!! ive heard of Blind Kagekiyo in a book by Isaac Adamson.

So how do I translate these related Japanese phrase couplets Akushichibei Kagekiyo or Akushichibyōe Kagekiyo?

they both look like they would sound the same…just spelled differently

...but i wouldnt know…

Period short film Akushichibei Kagekiyo 1912 was of course directed by none other than “father of Japanese cinema” Shozo Makino 1878-1929 and so featured his star protégé, former kabuki actor Matsunosuke Onoe 1875-1926 of the retrostyle “ninja” picture, who is himself said to appear in over 1000 movies altogether.  Now it would indeed seem that colorful Jpn. identification Akushichibyōe has long been the very popular nickname of your blind hero yet found in diverse literature, all forms of drama and in oral tradition as well for somewhat lengthy Kazusa no Akushichibyōe Kagekiyo which is “Akushichibyōe Kagekiyo of Kazusa” in modern English.

Sean Matsuko - 04 February 2009 09:42 AM

I’ve heard of all these tales of the warrior “Blind Kagekiyo.” Though, what I never understodd as a child, was the fact that he held his sword upside down rather than vice versa. Nevertheless, was the best swordsman of his time.

Japanese mythohistoric figure 悪七平衛景清【あくしちびょうえ・かげきよ】 Akushichibyōe Kagekiyo and early cinematic “ninja” classic 悪七兵衛景清【あくしちべい・かげきよ】 Akushichibei Kagekiyo 1912 can together break down systematically as follows:

1.  【あく】 = aku “vice”

2.  【しち】 = shichi “seven”

3.  【へい】 = hei, bei “soldier” besides alternate hei, bei homophone for Sino-Japanese Heike or native language Taira clan, whose proud banner loyal Kagekiyo once flew.

4.  【ひょう】 = hyō, byō yet another tenable reading of the more proper kanji  symbol for Sino-Japanese Heike or his native language Taira clan v. supra

5.  【え】 = e as significant Chinese ideograph meaning “defense” or else mute semantic logogram cf. ex lingua 衛兵【えいへい】 eihei “guard” vide no. 3 supra

6.  【かげ】 = kage evidently synonymous here with its phonetic equivalent 【かげ】 kage “shadow”

7.  【きよ】 = kiyo very likely to mean “pure, clean, chaste” cf. ex lingua める【きよめる】 kiyomeru “to purify”

Thus one truly famous dramatis persona whether cast in modern Japanese cinema as Akushichibei or Akushichibyōe Kagekiyo in more traditional bunraku, noh & kabuki stage performance has, at least since medieval 14.cent Japan, long sought to entertain our discriminating audience with a well intended semantic oxymoron  about this vainglorious “samurai or toy soldier of seven vices” who ironically casts his rather lengthy “impeccable shadow” just beyond all possible reproach—now lo and behold what contradictory sort of military parallel dares us to pass sound judgment even today!  For it would indeed appear Japanese stage persona Akushichibyōe Kagekiyo can only be sometimes found here & there in said highly traditional dramatic context and modern cinematic title Akushichibei Kagekiyo 1912 remains exclusive to rather demeaning, though exceedingly more popular “manga” art form.

Shiro - 05 February 2009 04:08 PM

crazy-awesome!!! the name actually means something!!

my name, “Shiro” means “white” in english…which is ironic considering im half white!! lol

What follows would indeed appear to be a certain scholarly CiNii abstract from Torii Fumiko “An Adaptation of Tosa Jōruri for the Stage (III): Aspects of Hōrai-Genji, Kagekiyo-mono” Essays and Studies Tokyo Woman’s Christian University 32·2·1982 pp.17-39 for you to cut those inquisitive teeth with:

“Among works in Kinsei (the period between the Medieval[sic ‘Middle’] Ages and the Modern Age in Japan) Drama there are many called Kagekiyomono whose hero is Akushichibyōe [viz.「悪七兵衛景清」] Kagekiyo. . . Kagekiyo-mono in Kabuki and Jōruri [ergo ‘Bunraku’] after Hōrai-Genji followed the method that Hōrai-Genji originated, that is, the fusion of the two types.”

[n.b. this intermittent post to be hereby continued v. infra]

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1.  הכל הבל׃ hakkōl hâvel Qohelet 1:2 “all (is) vanity” KJV loc. cit.
2.  [οἱ] ἔσχατοι πρῶτοι [Textus Receptus] Mark 10:31 novissimi primi Vulg. “last (shall be) first” ibid.
3.  ’Tis the path you take in life that’s more important!  Sufi wisdom

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Posted: 07 July 2009 09:35 AM   [ Ignore ]   [ # 73 ]
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too much for me bandito. Interesting though.

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Posted: 07 July 2009 10:08 AM   [ Ignore ]   [ # 74 ]
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douglang - 06 February 2009 12:10 PM

I’m beginning to think that Bandito is a Shogun priest, trying to trace his roots.

That’s “shaolin” priest and it’s Chinese Buddhist, not Japanese Zen; secular title “shogun” is a sort of military overlord who officially governed Japan since 1192 AD until the Meiji restoration beginning in 1868 when this singular nation undertook its historic path to Western-style modernization.

LukeJavan8 - 08 February 2009 11:45 AM

You know what they say about making assumptions????

douglang - 08 February 2009 12:09 PM

Like mistaking Bandito Quixote for a Shogun warlord ? 悪七平衛景清【あくしちびょうえ・かげきよ】  -  are you trying to show us the Shogun path Bandito, or have you been misquixoted?

Hardly, for it would indeed appear Japanese stage persona 悪七平衛景清【あくしちびょうえ・かげきよ】 Akushichibyōe Kagekiyo can only be sometimes found here & there in said highly traditional dramatic context and modern cinematic title 悪七兵衛景清【あくしちべい・かげきよ】 Akushichibei Kagekiyo 1912 remains exclusive to rather demeaning, though exceedingly more popular “manga” art form.

n.b. Torii Fumiko in declaring taxonomic category “Kensei Drama” [v. my antecedent post further back supra] thereby calls for some historical perspective from Richard von Glahn “An East Asian Early Modernity? Kinsei in Japanese Scholarship on Japanese and Chinese History” UCLA n.d. as follows:


“Already by the beginning of the twentieth century historians in China and Japan had adopted Western scholars’ tripartite stadial conception of history divided into ancient, medieval, and modern eras and applied it to their own histories. . . In 1903 Uchida Ginzō adapted the term kinsei 近世 (‘recent age’) as a fourth period, distinctive to Japanese history, interposed between the medieval (chūsei 中世) and modern (kindai 近代) eras.  In Uchida’s view, Japan’s kinsei era—which he identified with the uncontested rule of the Tokugawa shoguns from 1616 to 1853—was marked by rapid advances in industry, commerce, and intellectual and cultural life that promoted ‘citizens’ life’ (what historians today might call ‘civil society’) and provided the necessary foundation for Japan’s rapid transition to modernity.

“While many historians (especially in the immediate postwar era) rejected Uchida’s sunny assessment of the Tokugawa era, the four-part division of Japanese history incorporating a kinsei era extending from the sixteenth to the mid-nineteenth century became a permanent feature of Japanese historical consciousness. . .

“In the last fifteen years the concept of kinsei has undergone fundamental revision both within scholarship on Japanese history and in Japanese scholarship on East Asian history.  A new trend toward situating Japanese history in larger Asian/world-historical contexts has renewed debate over the meaning and significance of kinsei and broached the question of whether we can speak of an East Asian kinsei era. . . proponents of an East Asian kinsei have stressed cross-cultural interactions and parallel developments among East Asian societies, Southeast Asia, and other parts of Asia (such as the ‘gunpowder empires’ of West, Central, and South Asia), relegating the encounter with the West to a secondary level of stimulus.  Most recently, we also see a shift among historians of Japan toward a more expansive view of kinsei in two respects: on the one hand there is greater recognition of Japan as part of a pan-East Asian kinsei, and on the other hand a new emphasis on continuities rather than discontinuities in the transition between medieval Japan and subsequent kinsei epoch.  With few exceptions, though, Japanese historians continue to eschew ‘early modern,’ a category deemed too deeply tinged by Eurocentrism.”

brian_costello - 01 December 2005 07:29 PM

Tokyo (Older English spelling Tokio) -  The name of this famous metropolitan city and capital of Japan since 1869 appears to be of Chinese origin. A Chinese friend of mine, Dr. Lai, told me once that the Chinese name for the city is Tong King meaning ‘east capital” or “eastern capital” if you will. In ancient times, Tokyo was called “Edo” which might be native Japanese (Knock on wood!) and the Japanese capital was actually Kyoto instead. It was here that the emperor resided.  smile

Flaminius - 01 December 2005 10:25 PM

They are not even pronounced the same.  To in Kyoto is short whereas that in Tokyo is long.

Lacking my favourite macron in this board, I would transcribe the two as Tookyoo and Kyooto.

And kyoo or king means city or capital, not gate.  FLam

Feudal “Edo” for the central metropolis, located on what must surely have been Yokohama Bay—with its ancient port that lay open, greeting the vast mare Oceanum toward sunrise, only to play reluctant host to the American explorer, Commodore Matthew Perry, and his successive “gunboat” embassies thereto in the nineteenth century—probably fell out of use not long after the last Tokugawa shogun, Yoshinobu in 1867: a sidereal change, and verily so, which at once foretold the end of splendid isolation for this pastoral nation of maritime lore, as well as the onset of Meiji reform in the meantime, thus proving to be Japan’s disastrous entry in the postmodern era of capitalist industrialism & syncretic forms of worship, a much too sceptical world that we all see everywhere today.

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1.  הכל הבל׃ hakkōl hâvel Qohelet 1:2 “all (is) vanity” KJV loc. cit.
2.  [οἱ] ἔσχατοι πρῶτοι [Textus Receptus] Mark 10:31 novissimi primi Vulg. “last (shall be) first” ibid.
3.  ’Tis the path you take in life that’s more important!  Sufi wisdom

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Posted: 07 July 2009 12:57 PM   [ Ignore ]   [ # 75 ]
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I did know, however that Edo was feudal Tokyo.  But that from crosswords.

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