#out of context naus
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"Well what about piss fish?"
-@silverandirontales
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Cienie’s take on Mandalorian Culture: Kad Ha’rangir and mandalorian traditional weapons, p.3
part 1 --- part 2
In contrast to previous sources that with no doubt tried synthesizing Legends with The Clone Wars lore, the Collapse of the Republic Roleplaying Sourcebook (2019) seems to be written first and foremost with New Canon in mind, at least in regard to Mandalorian culture. While understandably a main focus was put on the conflict between New Mandalorians (pacifists) and Death Watch (traditionalists) just before and during Clone Wars, the history of Mandalorians was presented there in a general, not really detailed way - the Mandalorians were warriors for generations and that is basically the summary.
The two vital data about Mandalorian weapons are:
the importance of Darksaber (a sword not exactly needed to lead Mandalorians, but an important heirloom of Vizsla clan and cultural item nonetheless)
the traditional swords made out of Mandalorian iron are known as beskads and their shape was based on ancient Taung design.
The second point is especially interesting because the visible lack of connection to “ancient time” lore makes the mention of Taung a surprising addition. As I do not have any insight into legal restrictions or demands put on authors, I can only speculate if the authors of this Rulebook couldn’t refer openly to Legends sources which is why this small callback is sneaked into the text without a proper context? Whatever the truth is, Bounty Hunter Code already had similar information, and the same as with the older source, I do not think Collapse of the Republic contradicts what original The Sith War comics presented.
Logically thinking, the metallurgist knowledge needed to be passed down from Taungs to humans and other assimilated Aliens before the original Mandalorians died out. The existence of Mandalorian traditional sword design however is not exactly the same as direct proof the said swords had any real religious importance in their culture. Even more, the lack of proper context who Taungs actually were for (human) Mandalorians raises a question, did Sourcebook mean ancient Taung as the pre-Mandalorian (Roon) culture or indication for original Mandalorian era? Because there is possibility that modern warriors based their beskads on archaeological findings from burial sites on Roon or alternatively, Taung!Mandalorians forged swords in the manner their own forefathers did before Mandalore was colonized. And so we come back to burial sites mentioned in Author’s Cut and a religious/cultural aspect of swords that may or may not survive to the Sith and Mandalorians Wars era. Similarly, we can’t cross out the possibility that Taung metallurgist created swords either for export[5], as gifts and/or sacred items or as equipment for their (non-Taung) vassals before those were acknowledged as equal to warriors and maybe even for Neo-Crusaders who in great numbers came from Republic (thus may be more familiar with sword fighting than more typical Mandalorian axes).
The same as Death Watch Manifesto, "Collapse of the Republic" puts a great importance on the modern conflict over mandalorian “national” identity; however in contrast to the earlier source, the provided knowledge is pretty much separated from warriors’ ancient (alien) origin and it does not even clarify which Taung design - of Roon or Mandalorian culture - it refers and this detail makes a great difference.
Another source worth to examine is one of Mandalorian songs - “Vode An” (meaning: Brothers All), the best known from Republic Commando Game Soundtrack. Years ago, Lucasart.com published the ancient Mandalorian text and English translation of chants used in the game - for those interested, an archived version is still available.
Part of this song, although not specified by name, was also included in Republic Commando: Hard Contact as a little in-universe snippet added to chapter 7:
Bal kote, darasuum kote, Jorso ‘ran kando a tome. Sa kyr 'am Nau tracyn kad, Vode an.
(And glory, eternal glory, We shall bear its weight together. Forged like the saber in the fires of death, Brothers all.) ”
— Traditional Mandalorian war chant
Republic Commando: Triple Zero’s glossary calls the same song as “ancient Mandalorian war chant”.
Both Republic Commando game’s tie-in sources and book series note the old origin of the song and its traditional aspect. On the first glance, it is easy to assume this war chant could be created by Taung!Mandalorians and thus be a proof of swords' importance or presence in the pre-human culture era, especially if used as poetic metaphor. However we need to take two things into account:
First, as I mentioned before, with a culture that has existed for over 7,000 years the term “traditional” may easily refer to various stages of Mandalorian history. If we look closely at the all presented songs, Vode An share a lot similarities - if not the same lines - with other pieces, like:
Bal kote, darasuum kote (And Glory, Eternal Glory) with the first line of “Kote Darasuum” (the difference is addition of “and” in Vode An)
Motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a // Aruetyc runi solus cet o’r. (Those who stand before us light the night sky in flame // Our vengeance burns brighter still // Every last traitorous soul shall knee) share the same lyrics with
🔶"Rage of the Shadow Warriors" (later officially named Dha Werda Verda):
Duum motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a (Let all those who stand before us light the night sky in flame // Our vengeance burns brighter still.)
🔶 "Gra’tua Cuun":
Motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a // Aruetyc runi solus cet o’r prudii an. (Those who stand before us light the night sky in flame // Our vengeance burns brighter still // Every last traitorous soul shall kneel in our shadow.)
From the perspective of making music for a Republic Commando Game - and to my understanding, the lyrics were first created by Jesse Harlin and later official mandalorian language came to life thanks to Karen Traviss and her book series - it makes sense that all songs have the same lyric “core”. However, from the perspective of in-universe culture, the similarity either implies a very limited creativity (artistic needs) of Mandalorians or those songs drew inspiration from the same source but themselves may not be created in the same era. Alternatively, one of them is the original version that inspired the later variants who naturally differ from each other due to isolation and cultural (clan) differences, as Mandalorians lived in various enclaves across the galaxy and clans did not always reside in close proximity to each other. Another possibility is that some of the presented chants were adopted by Mandalorian groups as their specific symbols, similarly as happened with clone troopers using Vode An as their army’s anthem and Kote Darasuum as their motto[6].
Frankly, from the all named songs, only for Rage of the Shadow Warriors - in later sources known also as Dha Werda Verda - we have premises to assign it to a specific era. Star Wars: The Essential Guide to Warfare Author's Cut, Part 2 - Ancient Coruscant places its origin to regime of Mandalorian the Ultimate and its role as a plea of dying out Taung species to be remembered by new, non-Taung Mandalorians:
Hu Jibwe, scholar of military history at the Salmagodro Grand Academy, notes that there is another song popularly known as “Dha Werda Verda” -- the Mando’a war chant known as “Rage of the Shadow Warriors.” During the Clone Wars, some Mandalorian trainers taught this chant to their clones, and it became a hallmark of those units. It’s rarely performed today, so if you have a chance to see it, take advantage: The chant and ritual dance are mesmerizing, particularly if the dancers follow Mandalorian tradition and drum out the rhythm on the chest or back of those next to them:
The ash of the Taung beats strong within the Mandalorians' heart.
We are the rage of the Warriors of the Shadow,
The first noble sons of Mandalore.
Let all those who stand before us light the night sky in flame.
Our vengeance burns brighter still.
The gauntlet of Mandalore strikes without mercy.
We are the rage of the Warriors of the Shadow,
The first noble sons of Mandalore.
Let all those who stand before us light the night sky in flame.
Our vengeance burns brighter still.
But as Hu notes, “Rage” is far more recent than Dha Werda Verda. The best-preserved record of the Taung epic poem, written in Notron Cant and housed in the Baobab Archives on distant Manda, contains none of the verses of “Rage.”
“It’s my belief that ‘Rage of the Shadow Warriors’ dates from the reign of Mandalore the Ultimate, when the Taungs knew they were being eclipsed,” Hu explains. “I’ve always thought it a poignant work -- a plea that the Taungs not be forgotten by the newborn culture they knew would outlive them.”
Mind you, this is just (in-universe) researcher’s opinion and the man may be wrong about the song's true purpose as this is only his academic assumption. However the mention of differences between the epic poem and the chant is a strong indication that the song was created much later[7]. Interestingly, Rage of the Shadow Warriors, if truly composed by Taungs in the period of (pre?) Mandalorian Wars, does not use a metaphor of “forged like the saber” while at the same time is the longest and most complex piece. Looking at the similar lyrics between Rage of the Shadow Warriors, Gra’tua Cuun and Vode An, one may wonder if the “saber” part wasn’t added in human!Mandalorians era where such a type of edged weapon became much more popular.
Another thing worth considering is the periodization of Mandalorian culture. More precisely what in-universe researchers and Mandalorian people themselves describe as ancient times? This is a very important question as sources often use “ancient” and “traditional” interchangeably yet those two terms are not the same and may indicate different meanings (the word ancient itself is more chronology based, the traditional - culturally). Secondly, our idea of an “ancient” and “modern” era in a technologically advanced galaxy far far away may be misleading because really, at which point antiquity officially ends? The best example for this problem is Darksaber itself.
The Armorer and Fenn Rau claimed Tarre Vizsla created this one of kind lightsaber around one thousand years ago which is of course impressive amount of time, but also a relative small part of overall long Mandalorian history (and even longer culture if we take into account the whole record of Taung species). And yet starwars.com’s databank still calls this item “An ancient lightsaber that serves as a powerful symbol of leadership to the Mandalorians”.
In Legends, one thousand years before the events of the Original Trilogy, the Republic and Jedi Order went through a great reconstruction known as the Ruusan Reformation that started the Republic Golden Age. Maybe the New Canon too uses similar periodization or its antiquity ended at a different, much later time?
Even if we narrow down the mandalorian antiquity from The Sith & Mandalorians Wars era to creating Darksaber, it is still three thousand years - a great period of time to which the term “ancient” will refer to. Which of course does not help to examine source material, especially related to traditional songs and items passed down from one generation to another for centuries.
So, how important were swords in Mandalorian culture and how does this weapon relate to Kad Ha’rangir?
Next part: Final conclusions and potential explanations of the problem.
SIDENOTES:
[5] In Tales of the Jedi: Dark Lords of the Sith #2 (1994) - a year before the TotJ comic series even introduced us to Taung!Mandalorians - for the first time Mandalorian iron is presented as a material that can withstand even a lightsaber cut.
Master Jedi Arca Jeth used Mandalorian iron to secure a Sith tomb of Freedon Nadd, build in 3998 BBY on Dxun, Onderon’s dangerous moon (Uprising of Freedon Nadd #2) . The duel of Ulic Qel-Droma and Mandalore the Indomitable happened in 3996 BBY (The Sith War #1) and Mandalorians up to this point weren’t well known force within Republic border - they did conquered many worlds and their attention at some point was focused on Teta Empress and similar strong regions of this galaxy, yet for example Exar Kun - who in general was knowledge seeker - had literally no idea what the tomb was made of to whistand lightsaber which suggest Mandalorian Iron wasn’t worldwide known yet. This of course raise a question then how Master Jedi Arca Jeth even get his hands on such precious material - something rather hard to get by different means than from Mandalorians themselves, as:
A) beskar is found only in Mandalorian system
B) without a proper metallurgist knowledge beskar won’t be indurable
C) sources like Bounty Hunter Code states betraying the secrets of beskar and mandalorian metallurgist technique is punished by death and of course, this could be more modern nuance (especially when facing extermination of warrior culture) but definitely beskar had a special place in Mandalorian culture.
Sadly, the issue of Master Arca using Mandalorian iron is, as far as I know, unresolved.
[6] The Guide to Great Army of Republic (Insider 84) states:
[7] The use of the word “Mandalore” also supports the theory that the song Rage of the Shadow Warriors is a much later creation than epic poem. The version known and used by clones (as presented in Republic Commando game) has changed the original line to “Coruscanta kandosii adu.”, as reference to the capital of the Republic. This raises question though, if “forged like the saber” could be also changed from original into something more familiar and Republic/Jedi alike?
#star wars#mandalorian culture#cienie's take on mandalorian culture#mandalorians#mandalorian songs#uff i'm almost done#and a bit shorter part compared to the previous ones lol#anyway I DEMAND DO KNOW HOW IN-UNIVERSE LOOKS PERIODIZATION OF MANDALORIAN CULTURE#is pre-The Sith War era considered ancient time or prehistoric due to limited written / material sources???#the reason i think modern (human) mandalorian could use archaeological findings is the feeling that with warrior culture being destroyed#on purpose they could try to look for their ancient roots for propaganda and ya know culture that lasted for more than 7000 years#sounds better than pacifism that lasted max 700 years#anyway i have few pages of conclusions and theories to present lol
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Delicious snack
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Panel 1: Sawi is showing something very small to Sher, Kai, Nau, Roi and Mekari, while Naha and D play Freedoom in the background. Sawi explains “Right now I’m holding a translator. You put it inside of your ear and you’ll be able to understand what others speak. You can find many, many different designs for these, tailored to different species, but the ones I hold are good for us avalis and for you bunnies. For context, Sher used one of these for years”. Sher says “Yep, it’s true. The only reason why I stopped using one of these myself is because I got a more powerful version that lets me speak too. But since everyone here is using their own translator, you don’t really need that”.
Meanwhile in the background D says “I didn’t know someone translated Freedoom to avali core”.
Panel 2: The band is playing in their hotel room; Sher is screaming the lyrics of Arch-Enemy’s ‘Reason to Believe’. “There’s a reason to believe again! There’s a reason to go on! Always keep on fighting, my friend!”. The narration explains “The next day almost everyone went out to explore the space station. We used the time to practice some more”.
Panel 3: Naha is showing a glass flask containing a California reaper, with Eikomi, Nau and Khi in the background. He says “...They were selling this as a delicious snack from Earth, and they told me it’s a very special fruit for very special events, and since this is a special event I thought we could eat it together today!”. Sher, Rowi and D all have sweat drops on their heads, with Rowi saying “Naha, if you get that thing even remotely close to your mouth, you’ll die. Toss it to the trash can NOW”.
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What a martian meteorite can teach us about Earth’s origins What do Mars and Iceland have in common? These days, not so much. But more than 4.5 billion years ago, it’s possible the Red Planet had a crust comparable to Iceland today. This discovery, hidden in the oldest martian fragments found on Earth, could provide information about our planet that was lost over billions of years of geological movement and could help explain why the Earth developed into a planet that sustains a broad diversity of life and Mars did not. These insights into Earth’s past came out of a new study, published today in Nature Communications, by an international team that includes an NAU researcher. The study details how they found the likely martian origin of the 4.48-billion-year-old meteorite, informally named Black Beauty. Its origin is one of the oldest regions of Mars. “This meteorite recorded the first stage of the evolution of Mars and, by extension, of all terrestrial planets, including the Earth,” said Valerie Payré, a postdoctoral researcher in the Department of Astronomy and Planetary Science. “As the Earth lost its old surface mainly due to plate tectonics, observing such settings in extremely ancient terrains on Mars is a rare window into the ancient Earth surface that we lost a long time ago.” What Mars can tell us about Earth The team, led by Anthony Lagain from Curtin University in Australia, searched for the location of origin of a martian meteorite (officially named NWA—Northwest Africa—7034 for where it was found on Earth). This meteorite, the chemistry of which indicates that Mars had volcanic activity to that found on Earth, recorded the first stage of Mars’ evolution. Although it was ejected from the surface of Mars five to 10 million years ago after an asteroid impact, its source region and geological context has remained a mystery. This team studied chemical and physical properties of Black Beauty to pinpoint where it came from; they determined it was from Terra Cimmeria-Sirenum, one of the most ancient regions of Mars. It may have a surface similar to Earth’s continents. Planetary bodies like Mars have impacts craters all over their surface, so finding the right one is challenging. In a previous study, Lagain’s team developed a crater detection algorithm that uses high-resolution images of the surface of Mars to identify small impact craters, finding about 90 million as small as 50 meters in diameter. In this study, they were able to isolate the most plausible ejection site—the Karratha crater that excavated ejecta of an older crater named Khujirt. “For the first time, we know the geological context of the only brecciated Martian sample available on Earth, 10 years before the NASA’s Mars Sample Return mission is set to send back samples collected by the Perseverance rover currently exploring the Jezero crater,” said Lagain, a research fellow in the School of Earth and Planetary Sciences at Curtin. “This research paved the way to locate the ejection site of other Martian meteorites, in order to create the most exhaustive view of the Red Planet’s geological history." Payré studies the nature and formation of Mars’ crust to determine if Earth and Mars share a common past that include both a continent-like and ocean-like crust. She uses orbital observations captured in this region to investigate whether traces of volcanism similar to Iceland exist on Mars. “As of today, Mars’ crust complexity is not understood, and knowing about the origin of these amazing ancient fragments could lead future rover and spatial missions to explore the Terra Sirenum-Cimmeria region that hides the truth of Mars’ evolution, and perhaps the Earth’s,” she said. “This work paves the road to locate the ejection site of other martian meteorites that will provide the most exhaustive view of the geological history of Mars and will answer one of the most intriguing questions: why Mars, now dry and cold, evolved so differently from Earth, a flourishing planet for life?” The team’s algorithm is adapted to detect impact craters constellating Mercury and the Moon, the other terrestrial bodies. This can be used to help unravel their geographical history and answer foundational questions regarding their formation and evolution. This work is a starting point to guide future investigations of the Solar System.
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worried we're gonna be smth like this
#but nau. we dont Say things out loud#in all likelihood the Friendliness is gonna be even more forced and theres gonna be even more of a Notably Nothing present#that one crush situation lol#but idk. EYE have a sense of leaving my problems at the girl but lololoLOL#this girl has NO practice in emotional suppression he nearly tanked the entirw scene last week by refusing to look me in the eye#like COME ON#its ACTING.#like its a whole JOKE at the studio just to say youre 'acting' in the most ridiculous context#why not be serious about it#we were able to feign a lack of awkwardness at the beginning of the semester (and ended up faking it till we made it. :/)#cmon BITCHBOY. ACT#just play down your emotions lol its not that hard#what are you healthy#*DOOR. LEAVE MY EMOTIONS AT THW DOOR FUCK
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but you can't say fuck in Star Wars: a Mando'a glossary
A lot of the phrases available with translation on mandoa.org are rude or otherwise insulting, which makes sense: Mandalore is a very militaristic culture, they're aggressive and fighty (and the bulk of the example phrases come from characters in the middle of conflicts). But, as mentioned above, you can't say the fuck word in Star Wars, so most of these translations are softened to something a bit politer in English.
However, if you do a little poking and break down words and phrases to their components, you can find out what they really mean and it's hilarious. Everyone knows the most important part of learning a language is:
"Where is the library?"
Swear words
Phrases and explanations under the cut.
Mando'a: "Kote lo'shebs'ul narit."
Official translation: "You can keep your glory." (contemptuous and impolite)
Literal translation: "[Glory] [into]+[ass]+[center?] [insert]."
Actual meaning: "Shove glory up your ass."
This is from "kote" (glory) and shebs (ass). Lo is a preposition (and prefix, apparently) meaning "into." Narit is the conjugated form of naritir (insert, put, place).
"Ul" is a little harder to figure out; the other words we have are nau'ul (n, candlelight), ulur (v, notice, detect, care about) and some compounds based on that, ulyc (adj, careful) and ulik (n, animal, as a beast of burden or mount). Of those, we can take out the last two or three, depending on whether the conjugated form of ulur is ul or ulu (both compound words are in infinitive form). Nau'ur (v) is "to light [up]" and naumiit (n) is "signal" (from miit, word, literally "light-word"). So if nau is light and shebs is ass, I would guess the 'ul modifier is... something about being central? small? focused? the Thingest part of the Thing? In context, shebs'ul is probably "asshole" (as a body part, not an insult).
You could make this generic by replacing kote with ibic or bic ("this" or "it", apparently rarely used, similarly to Spanish), or with whatever noun is relevant.
Mando'a: "shabuir"
Official translation: extreme insult - "jerk," but much stronger
Literal translation: "[fuck]+[parent]"
Actual meaning: "motherfucker" (rarely literal, as in English)
I see this mistranslated as "bastard" a lot, presumably because of the "buir" part, which doesn't really matter in the grand scheme of things, but Mando'a literally has a saying about how it doesn't matter who your parents are, so parentage would be a weird thing to bring up as an insult.
Shabiir is similarly officially translated as "to screw up" but given shab'rudur ("mess with," noted to be "very strong language" (lol)) and rud ("around") (briirud is "circle" or "line-around"), it very obviously means "fuck." Shab'rudur is literally "fuck around." Shab also seems to pull double duty as a noun meaning "fucker" or possibly whatever genitals are applicable - the official translation of "Sooran, shab!" is "Suck on that, jerk!" but sooranir is "to suck/absorb liquid" so it's probably equivalent to "suck my dick" or "suck it, fucker!" The conjugated form of shabiir would be either shabii or shabi, depending on context.
Mando'a: "osi'kyr"
Official translation: strong exclamation of surprise or dismay
Literal translation: "[shit]+[end]"
Actual meaning: ??? "[scared me] shitless"?
Osik is, of course, "shit," though it's translated as "dung (impolite)." The fun part is that this is a noun, so we can assume, as with other nouns, the verb form simply adds -ar or similar to the end. Therefore since kaysh is the universal Mando'a pronoun and kute is "undersuit" or colloquially "clothing," you could say "kaysh osi'kute" to mean "they shit their pants" (presumably out of fear, seeing a heavily-armed and fully-armored Mandalorian running straight at them).
Mando'a: "haar'chak"
Official translation: "damn it"
Literal translation: "[the (definite)]+[steal]"?
Actual meaning: ?????
Man I dunno. This doesn't seem to mean anything if you break it down. Maybe the connotation is supposed to be, like, something you had was stolen? Or thrown out? I would've gone with dar for "damn" or "cast out" since Mandalore doesn't really have a cultural concept of hell as a place you go when you die--either you enter the manda/ka'ra or you don't. (Haran is translated as "hell" but seems to mean more like "complete destruction" or "annihilation.") Or maybe gratiir for "punish." Grati'haar would have worked. Chakur is "to steal." Chakaaryc is, like... "disreputable" sort of? Who knows??? ¯\_(ツ)_/¯
#mando'a#star wars#star wars meta#this is not how you conlang karen#accuracy of translation is inversely proportional to severity of swear words
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May 2nd 1568 saw Mary, Queen of Scots, escape from Loch Leven castle and revoked her abdication.
There was nothing boring about oor Mary I, Queen of Scots, she first visited Loch Leven castle, standing on its island in the picturesque loch, in 1565, as a guest of Sir William Douglas. From then on, during her short reign, Mary Stuart was a frequent visitor to the castle of Loch Leven and at times used it as a base for her favourite pastime of hawking. Mary last visited Loch Leven castle on the 17th of June, 1567, but on that occasion, she wasn’t really a visitor. Instead, she arrived as a prisoner and her forced visit lasted almost a whole year. With the help of various sympathisers and relatives of her gaolers, Mary eventually managed an escape on the 2nd of May, 1568. Thereafter, she revoked her recent forced abdication and gathered an army to move on Dumbarton castle.
This adventure began after the murder of Mary’s second husband, Henry, Lord Darnley. Many of Mary’s Nobles opposed her marriage to Bothwell, rising against her and her recently created Duke. A Protestant Army of three thousand men, led by the Earl of Morton and the Confederate Lords, met Mary’s Army at Carberry Hill, not far from Edinburgh, on the 15th of June, 1567. After six hours of fighting, Mary persuaded Bothwell to leave the field. Abandoned by her Duke, Mary surrendered to an Earl.
Shortly after her defeat at Carberry Hill and after a brief pit stop in Edinburgh, Mary was taken to Loch Leven castle by her Lords Lindsay and Ruthven, under the instructions of her half brother, the Earl of Moray. She was given into the custody of Sir William Douglas of Lochleven and spent most of her captivity living in the early 16th century Glassin Tower, at the south east corner of the castle. At one time, foiling an earlier escape plan, she was moved to the Solar Storey of the Main Tower, above the Great Hall. Throughout her time in the castle, she was accompanied by her own cook, her physician and Jane Kennedy, Marie Courcelles and the faithful Mary Seton; ladies in waiting.
Aside from Sir William, the household included his mother, Lady Margaret Douglas, also mother of the aforementioned Earl of Moray, and his brother George Douglas, as well as a young, orphaned relative, who was possibly an illegitimate son of Sir William. Before her marriage, Lady Douglas had been the mistress of Mary’s father, James V, and six children were born out of that relationship, including the Earl of Moray. Morals were quite different in those days and it wasn’t uncommon for Kings, in especial, to beget several illegitimate offspring. The present day censure over Mary’s morals should, instead, be considered in the context of her own times. In reality, Mary Stuart wisnae muckle different from any other royal and she shouldna’ be criticised for her affairs; no more so than any of her male peers or even her ain faither. It’s said that Lady Douglas resented Mary’s presence on the throne, believing that her son, Moray, should’ve been King. However, as Moray was illegitimate, he could never have ascended the throne. But Moray did become Regent, in August, 1567; King in all but name.
Famously, Mary fell ill soon after her arrival at Loch Leven castle and, sometime before the 24th of July, she gave birth, prematurely, to stillborn twins that she may well have ‘scandalously’ conceived with Bothwell before Darnley’s murder. Her secretary, Claude Nau, who wrote under her authority, stated that the twins were buried on the island. There is another, less probable version, which suggests that Mary gave birth to a daughter who was smuggled out of Lochleven and sent to France. Whatever the truth of that matter of the bairns, Mary was certainly in a very weakened and vulnerable state when, under Moray’s instructions, the Lords Ruthven, Melville and Lindsay presented her with abdication papers. Under considerable duress and threat from Lindsay in particular, Mary was forced to sign the papers, which she did on the 24th of July, 1567. She abdicated in favour of her infant son James, who was at that time just over a year old. James VI (& I) would be a mere ten months old when his mother later saw him for the last time.
The young and handsome George Douglas reputedly fell in love with Mary from the moment he met her, and the ‘young, orphaned relative’, a youth of between fourteen and sixteen years of age, was also bewitched by the beautiful Queen. The latter has been consigned to history as ‘Wee Willie Douglas’. Perhaps that was a moniker given him by his ally – and rival for Mary’s affections – Geordie Douglas. Unsurprisingly, those two dopey, love struck characters played an important part in Mary’s escape. Aided by the starry-eyed Douglas's acting undercover ‘on the inside’, various plans were made to help Mary escape. Those were either too fantastic to attempt or failed in their construction or, in the one case when an actual attempt was made, foiled by the attention of a boatman.
Finally, however, on the 2nd of May, 1568, Mary succeeded in escaping, primarily with the help of Wee Willie Douglas. The little hero managed to steal the keys to the Postern Gate from the table beside Sir William Douglas, when said gentleman was a wee bit the worse for wear after a banquet in the Great Hall. Mary, dressed as a servant girl, and Jane Kennedy made their way downstairs, across the courtyard and through the gates. Together, the three slipped away in one of the boats and rowed ashore, where George Douglas was waiting to welcome them and guide Mary to Niddry Castle, in Lothian. Legend has it that Wee Willie locked the castle gates behind him and, when half way to the shore, threw the keys into the water. Interestingly, when the Loch was being lowered, in 1831, a set of eight keys was found in the mud.
Immediately after her daring escape, Mary tried to have her abdication declared invalid and, with many Nobles readily declaring for her, was able to gather an army. However, that army was soundly defeated, in the space of an hour, by an opposing army, led by her half brother, the Earl of Moray. That was the Battle of Longside, that was, which took place just outside of Glasgow. Against the advice of her loyal Nobles, Mary fled south to England, in the hope that Queen Elizabeth I would help her. However, that wee plan wisnae as successful as her escape plan from Loch Leven. Mary was held in captivity for a further seventeen years and, in 1587, found guilty of being associated with various conspiracies, including the ‘Babington Plot’ and ultimately beheaded at Fotheringhay Castle.
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What’s your fannish ID?
Nautika.
My fannish name's origin: "Tika" has been my nickname for the last 17 years. There had been this anime about an orca whale called Tico and because Orcas are my favorite animals I got inspired. When I then joined ao3, to my dismay, the name had been already taken, so I added the "nau" and here we are!
What types of fanworks do you create?
I write fics :) Thinking about trying my hand on making vids.
What are your favourite types of fanworks, when you're not creating?
Fics and art. I love it when a fic has art in it.
What do you like in particular about this fandom?
I absolutely love (identity) reveal fics. My favorite dynamic is Matt & Frank, but I'm also a sucker for Defenders Friendship. Basically I'm all for happy endings and nothing hurts (but some angst on the way is fine).
Do you like participating in fan events?
Offline I've been going to cons since 2003, so yeah :D I'd love to do more fan events (online and offline), as I'm always excited meeting new people.
What about your creating process?
Silence. I need silence. I write in the evening or at night. My stuff is always humorous, often bordering on crack-ish, so I go lie down on my bed, close my eyes and think about a situation to put my characters in, come up with the first and the last sentence of the chapter and some kind of conflict. Then I open my laptop and write, everything else is just kinda made up on the spot. I rarely have a Masterplan.
Do you interact a lot with other fans?
Sometimes? I go to about four cons a year.
Do you have other fandoms you'd like to talk about?
My all-time favorite character is Nightwing and I love Batfam-stuff. As my favorite trope is Identity Reveal, well. Common ground with DD. (I'm also into science fiction, like doctor who and star trek and I live to talk about it, but I don't write for those fandoms. Yet.)
Is there any particular piece you’d like to showcase for this post?
I think I'd like to showcase "Five times Frank doesn't find out about Matt Murdock and one time he does" from the "I'm not daredevil, really" series. It's the second fic I wrote and it kinda kickstarted my writing, so it holds a special place in my heart. Also, I like the dynamic between Matt and Frank :)
Where can your fanworks be found?
https://archiveofourown.org/users/Nautika/works
Thank you, @nauticalypso !
banner by @context-is-for-kingpins !
[ID on a white background, four black triangles that look like spotlights from above. Each illuminates one of the Defenders silhouetted in white: Jessica, Luke, Danny, Matt. A hand on the left is holding a pen writing the words Content Creator Spotlight. There is a little Punisher skull on the pen. End ID]
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Because we are citizens of heaven, the gospel now governs our lives. We daily repent and believe.
Last Sunday's sermon is now available on SermonAudio
"Gospel Fueled Citizens" Philippians 1:27
Gospel Fueled Citizens
Stubborn sins – what do you do about those lingering sins that seemingly won’t go away.
The answer is simple: the gospel.
It is common today for people to make statements like “live the gospel” or “be the gospel.”
yet, nowhere in Scripture are you called to “live the Gospel.”
The gospel is not something “to be.” The gospel: the death, burial, and resurrection of Christ, that is not something you do to another person.
The Gospel can’t be lived.
The Gospel is an announcement for us to take to the world,
But, when you believe the gospel – it changes you – you will live differently.
Living differently is not the gospel – living differently is the effect of the gospel.
· What does that look like? How does the gospel change my life continually change my life, even now?
· How can you know if the gospel effects your daily life?
Explain context/Outline
I. Letter Opening: Greetings to All (1:1-11)
A. Address (1:1-2)
B. Thanksgiving and Prayer for All (1:3-11)
II. Letter Body: The Need for Unity in the Cause of the Gospel (1:12-4:20)
1. Paul rejoices by prioritizing Christ and the gospel (1:12-26)
a. Paul’s imprisonment progresses the spread of the gospel (1:12-18a)
1) Even in the face of challenges from outside the church (1:12-14)
2) Even in the face of challenges from inside the church (1:15-18a)
b. Paul’s imprisonment exalts Christ, even if he lives or dies (1:18b-26)
1) Paul knows his circumstances will mature his character and exalt Christ (1:18b-20)
2) Paul’s dilemma: Paul weighs the benefits of life against the benefits of death (1:21-24)
3) Paul’s decision: Paul would rather live than die before his work for the Lord is done (1:25-26)
We have a transition here, from a description of Paul himself and his circumstances, to an appeal to the church in Philippi.
Paul has just taught about life and death; heaven and hell.
What benefits we gain by contemplating on heaven and hell!
But, we are not to spend all of our time contemplating about heaven. We must take those glorious truths and apply them to our lives.
So Paul now gives us the application.
Paul’s emphasis is still “unity in the cause of the gospel”
The gospel is not like the flu shot. The gospel is not like paying your taxes. The gospel is not something you only think about or do once a year. The gospel is the constant obsession of the believer.
And so, when the church has unity in the cause of the gospel, the church lives in light of the gospel
2. The gospel causes the church to live as kingdom citizens (1:27-30)
BODY:
The apostle had the believers in Philippi on his heart. Regardless of what would happen to him—release from bonds or martyrdom—he wanted them to honor and glorify Christ.[1]
27 conduct yourselves
The Authorized Version has it: ‘Let your conversation be as it becometh the gospel of Christ.’ Nowadays this is misleading. To us, conversation means talk; but it is derived from the Latin word conversari, which means to conduct oneself. [2]
let your manner of life (Phil. 1:27 ESV)
…in Greek, this is a very interesting word. We get the word ‘politics’ from this word…
πολῑτεύω to be a citizen[3] -- to live as a faithful citizen
This is not simply a vague command about how to live.
Woven into this word is the idea that you have a citizenship – and you need to live consistent with that citizenship.
You live in a community and you need to live according to the obligations of that community; you need to live according to the moral standards of that community.
This word is always opposed to idiōteuō, “to live as a private individual.”[4] We don’t think of ourselves as living privately/alone.
The Bible uses a number of metaphors to describe the Christian life – some of these metaphors have to do with “city” or “government” – or politics
· Heaven is like a city (polis);
· Christ is its sovereign (Kyrios), the King and Lord of the city
· Christians are its citizens
· During this life, Christians are sojourners; this life is a temporary pilgrimage
o You are a foreigner in this world. Do not have friendship with this world.
When you are a citizen, you have: rights and privileges but also obligations and responsibilities.
· The rights and privileges are countless (we are heirs with Christ)
· There are also obligations
o Christian responsibility is not a transient affair but a permanent obligation[5]
o Look at the your responsibilities with tenacity/grit/determination
Each one is then required to “live as a citizen” (politeuomai), i.e., according to the laws and the spirit of this city, conformably to its statutes.[6]
Philippians 3:20 teaches us that “our citizenship is in heaven.” Therefore, you must live as citizens of heaven (Phil. 1:27 NLT)
To live out one’s citizenship is
· to conduct oneself according to the demands of the constitution
o to consider oneself in all of one’s actions as a members of the church,
o and accordingly to say nothing and do nothing that is not appropriate for a citizen of heaven.
But it is also a call to honor, to preserve this heavenly mindset
…this command ‘conduct yourselves,’ Paul didn’t give it to other cities; only to Philippi – because Philippi had a unique government…
When Paul wrote to this church in Philippi, this Greek city was part of the Roman Empire – the citizens of Philippi boasted in their allegiance to Rome. They were proud to be part of the Roman Empire and to experience the benefits of being part of the Roman Empire.
Paul writes to Philippi, telling the Christians to be counter-cultural. Reminding them that their identity is not found in Rome, but is found in heaven.
The Philippians names were written on the rosters at Rome[7] but their names were, more importantly, written in heaven.
YOU ARE CITIZENS OF THE UNITED STATES OF AMERICA. What is your status? Your status may be poverty/luxury – but by faith in Christ, you posses a far more valuable status in the kingdom of God.
BUT YOUR HIGHER ALLEGIANCE IS TO CHRIST.
The citizen (politēs) is one who—lives in his community — and participates in the political life of the city (cf. Plutarch, Cim. 17.3).[8]
Every city has laws/constitution. What governs those whose citizenship is in heaven?
in a manner worthy of the gospel of Christ,
A heavenly citizenship involves a heavenly constitution; that heavenly constitution is the gospel.
The structure of your lifestyle must be based on the gospel.
gospel. The word means ‘good news.’
· The bad news is that God is holy. And because God is holy, sinners are under His judgment. We have sinned, violating God’s holiness, and we receive the penalty; His judgment and wrath against sin.
· The good news is that Jesus, motivated by His great love for sinners, dies on a cross, and pays the penalty. And now, a person can be right with God, they can be in right relationship with Him, you can have the wrath of God removed, by repentance and faith.
The “good news,” put simply into a few words, is just this: Christ reconciles guilty sinners to Himself, not counting their trespasses against them
…notice how the gospel is described…
The NT calls the gospel by variously different names to emphasize unique details about the gospel:
o gospel of the kingdom (Matt. 24:14 NAU)
o the word of the gospel (Acts 15:7 NAU)
o the gospel of the grace of God. (Acts 20:24 NAU)
o the gospel of His Son (Rom. 1:9 NAU)
o my gospel (Rom. 2:16 NAU)
o the gospel of your salvation (Eph. 1:13 NAU)
o THE GOSPEL OF PEACE; (Eph. 6:15 NAU)
o the word of truth (Col. 1:5 NAU)
o the glorious gospel of the blessed God (1 Tim. 1:11 NAU)
o eternal gospel (Rev. 14:6 NAU)
If it was the gospel of man, then it would be worthy of nothing!
Here in Philippians, the gospel is the gospel of Christ.
· the gospel which tells about Christ.[9]
o You study the gospel, and you study the person and work of Christ
o To live for the gospel is to live for Christ
o Paul said “to live – Christ.” Paul could just as easily said “to live – Gospel.”
if you understand Christ you understand the gospel.[10]
It is impossible to preach the gospel without preaching the person, the work, the offices, the character of Christ. If Christ be preached the gospel is preached, and if Christ be put in the background, then there is no gospel declared.
It is the gospel of Jesus Christ; it glorifies his person, it is sweet with the savour of his name. Throughout it bears the mark of his artistic fingers.
Your living must be worthy of the gospel of Christ
· walk in a manner worthy of the God who calls you into His own kingdom and glory. (1 Thess. 2:12 NAU)
· walk in a manner worthy of the Lord (Col. 1:10 NAU)
· walk in a manner worthy of the calling with which you have been called, (Eph. 4:1 NAU)
Being a believer is indeed a high calling. To live worthy of the Good News does not mean that one must live perfectly before being accepted into God’s family—for such a life is impossible outside of the Holy Spirit’s help. Instead, believers ought to live differently because of the grace they have received. When we believe, we become God’s children, heirs of his promises, and members of Christ’s body. And this privilege was bought at a price—the precious blood of Jesus Christ. Believers ought to reflect humility, gentleness, patience, understanding, peacefulness, strength, endurance, and gratitude to God in every aspect of their lives on earth.[11]
To live worthy of the gospel of Christ does not mean we do something to earn God’s grace. Nor does it mean that we work to ‘pay God back’ for what He has done for us in the gospel. Rather, it means that those who have entered the kingdom of God through faith in Christ must live in a manner that reflects the way that Christ their King lived, a point that Paul will eventually make clear in 2:5–11.[12]
Your living must be worthy of the gospel of Christ
The gospel of Christ demands that you live a certain way. Why? Because the gospel of Christ deserves it.
· Imagine a set of scales.
o In the ancient world, if you wanted to buy an item, you would place that item on one set of scales. Then, you would place the necessary amount of money of the opposite scale to even them out.
o However much money your item deserved, however much money your item was worthy of, that is how much money you would place on the opposite scale.
For the Christian, for the one who has repented of their sins and believed in the death and resurrection of Christ, that person now recognizes the infinite value/worth of the gospel. The gospel of Christ is worth lifestyle/habits/conduct/way of life.
When you place the gospel of Christ one set of scales, and you place your lifestyle of the other set of scales, do they even out?
Are you living up to this standard?
Does your life demonstrate how thankful you are for the gospel?
o There is a standard for how the church must behave. That standard is not based on culture or tradition. That standard is fixed and always remains the same.
Do you believe the gospel of Christ is worthy? You can answer that question by looking at how you lived this last week. Did the gospel govern how you lived?
Does your life contradict the gospel?
Believers are to have integrity, i.e., to live consistent with what they believe, teach, and preach.[13]
What does that look like? I’m glad you asked! It looks like this:
· I so want to be with Christ that I believe dying is very much better than living.
· Yet, I want to remain living, not to fulfill the desires of my flesh, but to edify the church.
o To conduct yourselves in a manner worthy of the gospel of Christ means you elevate the purposes of Christ over the purposes of the world.
o Paul reminds the congregation that they should look to Christ, not Caesar, for their model of behavior, since their primary allegiance is to God and his kingdom.[14]
· (1:12-26) The Need for Unity in the cause of the gospel – Paul was able to rejoice, even while in chains, because he prioritized Christ and the gospel
o The church at Rome stood for the gospel, but there was no unity. Some preached Christ from pure motives and some preached Christ from selfish/sinful motives. That hurt its witness.
§ God deliver us from that!
o The Philippians had the opportunity to witness to the world by their unified stand for the gospel.[15]
· Titus 2:10 not pilfering, but showing all good faith so that they will adorn the doctrine of God our Savior in every respect.
o the supreme purpose of a virtuous life is to make attractive the teaching that God saves sinners.[16]
· The most important weapon against the enemy is not a stirring sermon or a powerful book; it is the consistent life of believers.[17]
o I worked at a car dealership as a mechanic. And one day my boss asked me what denomination of Christian I was. I responded by saying, “What makes you think I’m a Christian?” He answered, “because you don’t swear.” And I thought to myself, “is that all it takes? Just don’t swear and people think you’re a Christian?”
o The world watches your behavior – make sure your behavior is consistent with the gospel of Christ.
o When you sin, it effects more than just you. When you sin, it effects the reputation of the whole church. People consistently live faithful lives. And then your sin can ruin their reputation.
The church, every single member, must be united in this gospel cause: to live consistent with the gospel.
Jesus began His public ministry, preaching the gospel, and making 2 demands:
REPENT and BELIEVE
To live a life fueled by the gospel means you daily repent and believe, motivated by love, joy, and thanksgiving for the gospel.
· The gospel governs the life of the church
o Faith
§ Faith is self-renunciation: seeing we have no righteousness of our own, we escape to Christ (Philippians 3:9)
§ Faith is reliance: as one trusts a parachute, cast yourself on Christ alone (1 John 3:23)
§ Faith is receiving: believe that Jesus died and rose for you personally (John 1:12)
o Repentance
1. Sight of sin
2. Sorrow for sin
3. Confession of sin
Sin must first be seen before it can be wept for
Grief and misery
(2 Corinthians 7:9)
Confession is self-accusing
(2 Samuel 24:17)
4. Shame for sin
5. Hatred towards sin
6. Turn from sin
an uncomfortable feeling of guilt and humiliation
Intense dislike;
feel aversion towards
Turn from sin and to Christ
Paul’s abruptness in introducing the first imperative of the letter draws attention to its importance.[18]
…what Paul says here is of fundamental importance. This verse must tower above other verses, because, notice how the verse begins…
Only
The force of the word ‘only’ is tremendous, as if Paul had said, ‘This one thing and this only’. Nothing else must distract or excuse them from this great objective; it must be their all-embracing occupation whether Paul was there or not. [19]
o Lose sleep to meet this objective!
o Skip meals to miss this objective!
o Sacrifice possessions to meet this objective!
o Paul may live or Paul may die, but, regardless of what may happen to him, this is the only instruction Paul is concerned about. If Paul dies, Paul wants this verse to monopolize their lives.
o Paul expressed his concern for the church earlier (1:24–26). He so longed for its maturity that he was convinced that God would leave him on earth to help it grow in faith. In reality it could grow with or without him, and now he spoke of the possibility that he would not come. If he were absent, perhaps because of the unfavorable verdict in his trial or unexpected delays, he still longed to hear of its good spiritual condition. Paul had no inflated ideas about his importance. The church was capable of standing for the gospel.[20]
· The Philippians spiritual growth brings Paul joy. This is the one thing which will bring Paul joy regarding them.
· Whatever happens (Phil. 1:27 NIV)
· Above all (Phil. 1:27 NLT)
Paul does not say, “Now I have 17 points of instruction.” He boils down what the Philippians need to know, to this important command: conduct yourselves in a manner worthy of the gospel of Christ (Phil. 1:27 NAU)
1 Peter 2:9
Here is what the gospel does
But you are A CHOSEN RACE, A royal PRIESTHOOD, A HOLY NATION, A PEOPLE FOR God's OWN POSSESSION,
Here’s how we must respond
so that you may proclaim the excellencies of Him who has called you out of darkness into His marvelous light;
Just as he wanted to maintain his testimony for Christ, he longed for the Philippians to remain faithful, too. They would show faithfulness by living a life worthy of the gospel of Christ. Such a life would not just be legalistic, obeying moral laws. It would show forth the spirit and love of Christ in every human relationship.[21]
Legalism obeys simply out of a sense of duty. Biblical obedience is a delight; you are so thankful for what Christ has done for you, that the cross and resurrection motivates your living.
BIBLICAL CHRISTIAN LIVING: FAITH IN DOCTRINE CAUSES FUELS OBEDIENCE
LEGALISM: YOU CAN OBEY APART FROM DOCTRINE
Legalism simply gives command, like a drill sergeant, without any explanation.
Biblical sanctification gives commands that are rooted in doctrine.
CONCLUSION:
Christian, you have a high calling to fulfil. You have received some amazing privileges as children of God, members of the body of Christ and heirs of eternal glory.
You must not only be appreciative of all the good that has come through the gospel of Christ;
Recall this:
o that ‘rank imposes obligation’ (noblesse oblige)
o and ‘from the one who has been entrusted with much, much more will be asked’ (Luke 12:48).
o His ‘manner of life’ as ‘a new creation’ in Christ Jesus (2 Cor. 5:17) should reflect his gratitude and be the visible proof of the grace which the gospel has brought to his heart (cf. 1 John 3:18).[22]
Imagine standing before Jesus, he has been stripped naked. He has been flogged so many times, there’s very little skin left on his back.
A crown of thorns spiked to his forehead like barbed wire. His forehead and face are so bloody, his eyes are so full of blood, that when he looks up at you, you can barely see His eyes.
The Romans pick up His body, treating it like worthless garbage, they place His body on a cross.
They stretch out His arms and legs on that cross, and then one by one, nail Him down.
As He hangs upon that cross, naked, cold, bleeding to death, the Father is so pleased with the Son, that the Father pours out His wrath on His Son.
Jesus suffers and pays the penalty for guilty sinners. Jesus suffered the most excruciating penalty ever!
Do you believe in Christ? The next sin you commit, Jesus suffered God’s wrath on the cross because of that sin.
So the next opportunity you have to sin, think about Jesus dying on the cross because of [that] sin. Your heart should be so instantly filled with joy, that you turn from that sin.
That is how the gospel changes your life right now.
[1] Lightner, R. P. (1985). Philippians. In J. F. Walvoord & R. B. Zuck (Eds.), The Bible Knowledge Commentary: An Exposition of the Scriptures (Vol. 2, p. 652). Wheaton, IL: Victor Books.
[2] Barclay, W. (2003). The Letters to Philippians, Colossians, and Thessalonians (3rd ed. fully rev. and updated, p. 35). Louisville, KY; London: Westminster John Knox Press.
[3] Liddell, H. G., Scott, R., Jones, H. S., & McKenzie, R. (1996). A Greek-English lexicon (p. 1434). Oxford: Clarendon Press.
[4] Spicq, C., & Ernest, J. D. (1994). Theological lexicon of the New Testament (Vol. 3, p. 132). Peabody, MA: Hendrickson Publishers.
[5] Silva, M. (2005). Philippians (2nd ed., p. 81). Grand Rapids, MI: Baker Academic.
[6] Spicq, C., & Ernest, J. D. (1994). Theological lexicon of the New Testament (Vol. 3, p. 124). Peabody, MA: Hendrickson Publishers.
[7] Motyer, J. A. (1984). The message of Philippians (p. 93). Downers Grove, IL: InterVarsity Press.
[8] Spicq, C., & Ernest, J. D. (1994). Theological lexicon of the New Testament (Vol. 3, p. 125). Peabody, MA: Hendrickson Publishers.
[9] Greenlee, J. H. (2008). An Exegetical Summary of Philippians (2nd ed., p. 71). Dallas, TX: SIL International.
[10] Spurgeon, C. H. (1865). The Gospel’s Power in a Christian’s Life. In The Metropolitan Tabernacle Pulpit Sermons (Vol. 11, p. 400). London: Passmore & Alabaster.
[11] Barton, B., Comfort, P., Osborne, G., Taylor, L. K., & Veerman, D. (2001). Life Application New Testament Commentary (p. 848). Wheaton, IL: Tyndale.
[12] Harmon, M. S. (2015). Philippians: A Mentor Commentary (p. 166). Great Britain; Ross-shire: Mentor.
[13] MacArthur, J. F., Jr. (2006). The MacArthur study Bible: New American Standard Bible. (Php 1:27). Nashville, TN: Thomas Nelson Publishers.
[14] Crossway Bibles. (2008). The ESV Study Bible (p. 2282). Wheaton, IL: Crossway Bibles.
[15] Melick, R. R. (1991). Philippians, Colossians, Philemon (Vol. 32, pp. 88–89). Nashville: Broadman & Holman Publishers.
[16] MacArthur, J. F., Jr. (2006). The MacArthur study Bible: New American Standard Bible. (Tt 2:10). Nashville, TN: Thomas Nelson Publishers.
[17] Wiersbe, W. W. (1996). The Bible exposition commentary (Vol. 2, p. 71). Wheaton, IL: Victor Books.
[18] Harmon, M. S. (2015). Philippians: A Mentor Commentary (p. 164). Great Britain; Ross-shire: Mentor.
[19] Motyer, J. A. (1984). The message of Philippians (p. 92). Downers Grove, IL: InterVarsity Press.
[20] Melick, R. R. (1991). Philippians, Colossians, Philemon (Vol. 32, p. 89). Nashville: Broadman & Holman Publishers.
[21] Anders, M. (1999). Galatians-Colossians (Vol. 8, p. 211). Nashville, TN: Broadman & Holman Publishers.
[22] Martin, R. P. (1987). Philippians: An Introduction and Commentary (Vol. 11, p. 91). Downers Grove, IL: InterVarsity Press.
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Dwi wedi dod o hyd rhai postiai* yn Gymraeg ar Twitter yn ddiweddar, mae geirfa newydd gyda nhw, felly dwi'n eu postio nhw.
Edrych ‘mlaen yn ofnadwy i gydweithio gyda’r criw tuag at achos teilwng iawn! Tocynnau ar werth o fory ymlaen ond mae gofyn i chi fod yn sydyn! I am really looking forward to working with the crew towards a very worthy cause! Tickets on sale from tomorrow onwards but you need to be quick!
Vocabulary/Idiomatic usage
edrych ymlaen (i rywbeth) -> (to be) looking forward (to something)
yn ofnadwy -> terribly (ofnadwy -> terrible)
This can be used in a positive sense, as it has here, like you would in English:
Dwi'n gyffrous yn ofnadwy! I'm terribly excited!
cydweithio -> to work together with, collaborate (cyd -> all, roughly, a line in a Big Leaves song goes, "cyn i ti'n boddi ni gyd" before you drown us all/all of us)
tuag -> towards
Fact hwyl, in south Wales, the familar notion of moving "towards home", tuag "cartre", usually mynd adre, gets shortened to gytre.
and I suppose, "tuag at" completes the idiomatic usage to mean towards?
achos -> cause (as a noun).
Can also be used to mean "because" as a conjunction, but you'll know from context which it means.
teilwng -> deserving, worthy (achos teilwng -> a worthy cause)
Tocyn(nau) -> ticket(s)
Tocyn oes ar y tren grefi. A lifetime ticket on the gravytrain.
ar werth -> on sale (gwerthu -> to sell)
mae gofyn i chi -> you are asked/you are required/you need to
First time I've seen this usage, but it seems to fit into the same category as mae rhaid/eisiau (south)/angen (north/general) i (berson)...
yn sydyn -> quick/quickly.
As you can guess by saying it out loud, it technically means sudden, or abrupt, but I suppose
bod yn sydyn -> be quick
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*I wrote postiau, which was red-underlined and corrected to postiai, but plural posts in the traditional sense would be pyst (also the title of a great Datblygu album), so I could establish an air of timelessness on this blog and make pyst from now on. Gotta change my blog theme to like, messages in a bottle. Negeseuon mewn potel.
#vocabulary#source: online#idiomatic expressions#sentences#source: text#Twitter#dysgu cymraeg#learn welsh
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You hear as thunder; tis only song;
tell me son; have you done wrong?
Tell and turn, I shall forgive;
was not this world at first a gift?
To give again shall be my joy;
speak: you will not be destroyed.
-
Adam spoke but not in right; ‘
It was not I who brought this blight;
the woman whom You gave to me;
it was her, You do not see!
-
Maleldil wept a song so deep;
at his world thus put to sleep
he turned to her and bade her speak;
she spoke the truth- 'it was deceit.’
-
Against the dragon His face burned;
to drive him unto no return;
who had before him endless light;
yet chose to bring this darkest night.
-
Of Adam’s sons Maleldil spoke;
What I swore I will not revoke
a world so bright and glorious;
Given to Man when you are dust”
-
Tears shall come and with much sorrow;
But from grace I bring tomorrow;
the word I spake at first was true;
to give this gift and make all new.
-
But death will be for you a sting
A sword that pierces everything;
until it seems that all is lost;
aflame in endless holocaust.
-
In Adam’s son and Adam’s seed;
creation would from pain be freed;
And so became the world of men;
till Adam longed for home again.
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The first draft of this was written a couple years ago. I have made some revisions- I don’t know whether any of them are for the better. I think the most significant question is whether it is appropriate to refer to the pre-eternal Son according to the Name He possesses in the fictional world of the Cosmic Trilogy (for example, while Aslan is- in the narrative continuity of Lewis’ fictional universe- the personal name of Jesus Christ as He appears in another world rather than a literary allegory, it would not be appropriate to address the Lord in prayer by “Aslan”). The reason that I have chosen to name him here as “Maleldil”, that Name by which He is identified in the Cosmic Trilogy, comes from two related motive. The language (”Old Solar”, the primal language of Creation in the trilogy) of Lewis’ universe is carefully and intentionally constructed. The “eldila” are essentially what we call in Christian tradition the “Angelic Hosts.” Yet they are set in a larger context: each world has its resident eldila, over whom there is a lord entrusted with stewardship and management of the entire planet and its inhabitants. Prior to the Incarnation, all hnau- creatures who were of animal body yet endowed with rational will, agency, and purpose (”rational sheep” as the liturgical tradition calls the children of Adam)- were under the lordship of the eldila. We see, then, the profound significance that the notion and presence of eldila had in relation to the Old Solar tongue- the planetary “residence” (though, as he makes clear, from the perspective of an eldil, all planets were merely regions in Heaven) of Oyarsa, the Archon of Malacandra is called Meldilorn. One sees here the prefix “M” followed by “eldil”, followed by “orn.” Undoubtedly the central feature of the name is the preeminence of the word “eldil.”
So, my two reasons are: 1) I want to avoid in providing a narration from the temporal perspective of the world of Adam, a name that too much is framed by the memory of the Incarnation. There is undoubtedly such a memory, but it is a memory of the future (not unlike our “remembering” the “Second and Glorious Coming” as we prepare the Holy Eucharist during the Liturgy) and not of the past. To call him “Jesus” or “Jesus Christ” is thus out of the question. And 2) I want a Name which is inescapably a personal Name, one that creates an impression of a deep intimacy lost only in the catastrophe narrated in the story of the fall. Thus, “Angel of the LORD” is both too clunky and too impersonal in immediate impression: that simply does not sound like a personal name, something one might call a friend. Why select “Maleldil” then? Because Maleldil does sound quite like a personal name: Father Adam had been on a first-name basis with our Lord in friendship. But not only so, this personal name means something very much like Angel of the Lord- i.e. the hypostatic Word of God (again- Logos/Word is too abstract to work in this context) The dwelling place of the ruling Archon of Malacandra is M-eldil-orn. This suggests that the “M” prefix has something to do with authority. And so we have Maleldil, or Mal-Eldil. As I write this, I note that this prefix seems to be present in Malacandra as well: Mala-candra. “Andra” (pronounced with the “h” as “handra” according to the accent of the hrossa- i.e. the seroni call “hnau” the “nau”) simply means “land.” “Harandra” and “Handramit” refer to highlands and lowlands, “Malacandra” refers to the entirety of that world.
So, Mal-Eldil? I very much suspect it means, in Lewis’ mind, something like “King of the Angelic Hosts” or indeed “Lord of Hosts” or “Angel of the LORD.” It captures the temporal perspective of the cosmos prior to the sea-change that was effected by the Incarnation of the Word without sacrificing the sense of personal, first-name intimacy that belongs to the world prior to the Fall- only to be restored in the Redemption- where again we address the Logos by His personal name: “Jesus.”
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"Ow, my yonder! I'm not supposed to get demonstrative pronouns in it!"
- @silverandirontales
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Formative Submission end of Week 5
Presenting the work as a “pass it round” object held a performative aspect to the work. And I had prior to showing the work, been carrying it around before I shared it with the group. I carried it because metaphorically I don’t know where it could authentically reside so I have to just hold this thing until I find where it belongs. I’m not sure yet how I could transfer this performative aspect to a gallery space if it were to go there.
When invited to pass the shoebox around a person noted the expressions of people looking in and realising what
was inside the box, a little bit apprehensive at first then a realisation the object inside was a (mock) placenta.
In engaging with the work this way, each person could feel the weight and look closely at its construction if curious. And the group were “allowed” to prod the work and this permission gave an intimate informality to the presentation to the work. I want people to touch my work.
The object as a placenta drew comments on possible loss due to miscarriage and a passing comment about burying the placenta. So it seems disconnection/disapora at birth to whenua wasn’t really made explicit in the work and that’s possibly because most of the group except Eugene are non-māori and don’t know the nuances of a māori worldview. I could possibly point more towards this world view somehow without being too didactic.
The shoebox holding the placenta attracted comments about whether there was a sense of shame or the not, maybe contextualising it as “semi-precious” but not memorializing it. While not being on display, rather something put away and this idea may have made the work somewhat ambivalent. However, shame certainly sits along side most adoptions.
The materials I used don’t sit with my IPO other than being of a domestic nature like the egg trays I used, but the qualities of the materials provided the effects of a bodily organ for example the wobbly weightiness of the placenta body, the leaky plasma creeping out into the box and the sticky umbilical cord.
Describe how does your work relate to your IPO (Independent Project Outline):
My formative work represents my disconnection to my (birth) whenua through the process of closed adoption. The ghosted (in its colour) placenta is transient in that there is no known home for it to returned to, I don’t really know my place – “nau mai place”, a piece of me I pull out now and then and shamefully declare this disconnection. The “passing around” eluded to how being passed on to others at birth and also the intrigue of being the adopted subject.
Formative Assessment - Lecturer comment:
“Kia ora Ange, Congratulations on a fantastic start to the semester. I’m interested in what lead you to the decision to move from the abstract forms you had been making to a more literal form in this final work? While I acknowledge that it is particularly evocative content, I think the commentary you have made about your critique is really telling. I am particularly moved by the idea that you are carrying your metaphorical Whenua with you and that you don’t know where to place it. I have distinct memories of being in Ronopai with a group of students and a Kuia explaining that the pito of all the tribe is embedded within the walls of the whare and a student completely freaking out around the proximity to the pito. There are some questions that I would ask around these ideas of bodily connectedness and Tapu and Noa. I didn’t feel the need to poke or prod your work this might be either that I have become very hardwired not to touch art or it might be that a Whenua (metaphorical or not) is tapu and I ‘m not sure how to disentangle these instincts. For me the performative nature of the work was a little undone by the handing of it around the group. Your work blog is looking great and I am excited to see your work progress as the semester continues. Well done” Eugene
Indication of student achievement in relation to the Learning Outcomes for the paper:
1. Initiate and develop an independent project.
Your project should proceed from a coherent Independent Project Outline (IPO), which may proceed from your work from the previous year but must make reference to other artists and critical texts. The resulting work should demonstrate the use of the IPO and the material cited, in the development of your own thinking. It may not fully resolve, but it should demonstrate a suitable level of originality and creativity, with a growing awareness of the contemporary art context. Excellent
2. Investigate relationships between concepts, media and processes.
Consolidate an appropriate "economy of means" in the media you have chosen. You should evidence exploration of media, and the relationship between media, process and concepts, to produce a suitably technically competent body of work. Very Good
3. Develop competence in self-directed inquiry to produce studio projects.
At this point in your studio study, we expect a substantial amount of work from you, both in the nature of inquiry (e.g., exploration) and of production (i.e., making things). The work only begins with the IPO, and we expect the development process to continue throughout the semester, and for it to leave you in a strong position to resolve the year’s work in semester 2. Excellent
4. Contribute to critical discussion in relation to their own work and that of their peers. Your participation in and response to critique of your own work and others becomes increasingly important as evidenced by discussions with your tutorial Rōpū lecturers, group critiques including at Formative Assessment and Practice Forums. Excellent
5. Present their work in a considered and appropriate manner. Your project in its entirety should be well and appropriately presented, including the use of a workbook/workblog to show evidence of investigation (both contextual and the history of the things you make). A growing awareness of exhibition technologies and conventions is expected and should be demonstrated when work is presented for critique and assessment. Very Good
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OQM year end review of music 2017
Nick Triani looks back at his musical highlights of the year whilst pondering if analytics and algorithms have replaced critical consensus.
It’s a stat attackI’d be lying if I told you that this year left me in thrall to the wonders of music. That doesn’t mean I spent less time listening (I’ve listened more than ever), but life and its many complications seemed more urgent. This led me to seeking out an emotional connection to the music I was listening to. Frivolous virtues were left at the door. What a drag.
In broader terms, popular music has felt like it’s become defined by stats. Artistic merit seen through the lens of popularity at market level rather than if the music’s any good. Music criticism is facing the long walk into no-mans land as the convenience of music foregoes any particular opinion. Is this a bad thing? Not if your gate-keepers are trustworthy and there is some sense of context or a feeling attached to it. But trust should always be hard earned.
t’s a moot point that music criticism is so marginalized. I’d argue we need that contrarian voice more than ever and editors across the media need to be taking more risks rather than heeding the party lines. On his recent retirement, general consensus amongst the Finnish writing community was that rapper Cheek was deemed beyond a critical perspective because he was so popular. I never realized that being popular stopped you being shit at the same time. For me, it would have been encouraging to have heard ONE decent track emerge from such a supposedly credible pop star. But here’s the rub: with capitalism thoroughly interfering with culture and the idea of opinions being unwanted, will we see a whole new music movement evolve away from the conventional music industry? Might this sundown be a dawn for a new movement that finally puts quality over quantity?
Thankfully, Finnish music has continued to thrive if you know where to look. People are taking as adventurous steps as ever, especially encouraging as in broader terms Finnish music continued to be defined by low pop-expectations. That the burgeoning underground still managed to supply variety and original pursuits was for me something well worth supporting. More traditional outlets such as Mikko Joensuu, Lau Nau, Circle and the approaching superstar status of Litku Klemetti – all managed to release worthwhile music that engaged and pushed the cause forward. I don’t particularly love any of this music, but appreciated its existence all the same.
New beginnings
My favourite new-found thrills came from SZA’s Ctrl debut. Joyous songcraft, an indie take on RnB with minimalist sound walls, wrapped up in Solána Imani Rowe’s (SZA) larger-than-life personality. Much fanfare was made about lesser pop albums this year, but Ctrl surpassed many by simply being consistency great.
My other favourite discovery of the year was the second EP from Australia’s Rolling Blackouts Coastal Fever. I wrote in depth about their enthusiastic The French Press EP , the record’s energy creating its own feverish intensity. It reignited in me a mini revival in my interest for purist indie-rock. Beach Fossils baroque Somersault, Big Thief’s intimate Capacity, Crescent’s shambolic yet poignant Resin Pockets, Spinning Coin’s postcard strum of Pemo, Pia Fraus and their reaffirming Field Ceremony, (Sandy) Alex G’s schizo Rocket and Courtney Barnett and Kurt Vile’s endearingly meandering Lotta Sea Lice all provided hearty evidence that groups playing guitars can still bring some new feeling to the party whilst at the same time reinvigorating a wilting flower.
Feminine wilesMost of the music I enjoyed in 2017 was made by women. I don’t mean to split genders or bow to a binary, but I can’t ignore the fact that women seem to have their finger on the pulse of experiencing and expressing life in 2017. Albums by The Weather Station, Phoebe Bridgers, Molly Burch, Kaitlyn Aurelia Smith and Feistall seemed to delve into personal situations and deliver music that was vibrant, original and telling. Hurray For The Riff Raff’s Alynda Lee Segarra’s album The Navigator brought a new view of her old New York haunts and the effects of gentrification – whilst also conveying insight into her Puerto Rican roots. ‘Pa’lante’ from the album remains one of the year’s most enlightening and emotional listens.
A late find for me was Aldous Harding with Party. I’ve been addicted to the album these last few weeks, the mood of the record fitting in perfectly with the Finnish winter darkness. Aldous has a very distinct voice which manages to switch between voyeuristic detachment and expressive, discordant intimacy within the context of a verse. The bare bones feel accentuates the darkness, Harding delivering one of the years most powerful releases.
A couple of reissues have also been consuming me whole. Laura Nyro’s first two albums, released in Mono as A Little Magic, A Little Kindness: The Complete Mono Albums Collection offers thumpingly direct versions of More Than A New Discoveryand Eli and The Thirteenth Confession. Both sound better than ever and I can’t recommend these enough.Yoko Ono’s album catalog continues to be re-issued and Approximately Infinite Universe from 1973 really could be the greatest post-Beatles related album release. Strong songwriting, great vocals and a whiff of punk rock – especially on ‘I Felt Like Smashing My Face in a Clear Glass Window’ – make this one of my favorite old discoveries of the year.
Returning wonders
Popular music’s biggest enemy seems to be nostalgia. Unable to forge a new musical language – even some of the recent innovators came back with albums that although good, featured more of the same. It’s true that expectations for releases from older artists have been fuelled by past glories of discovering something genuinely groundbreaking, but this in itself is forged by my own nostalgia – a feeling of things being better before. Even my obsession with buying vinyl is in itself beholden to nostalgia’s grip. Let’s be honest, most people in general terms don’t bother with that anymore.
So LCD Soundsystem came back with another album that sounded great because it sounded like their older records. More of the same. War On Drugs had a few excellent tracks on their new record that played even more to the 1980s AOR gallery. Arcade Fire spectacularly lost the plot with their Everything Now – but still managed to include a few gems despite being unable to deliver anything remotely consistent. Even Fleet Foxes produced a record that was hard to love (at least they tried something different). Grizzly Bear’s Painted Ruins kept their standards high with a pleasing record that had some unexpected turns. But all these bands releases failed to totally re-ignite the ‘special’ spark.
A positive upturn
I found those pleasures elsewhere. Richard Dawson’s Peasant album devised a new narrative about the UK’s current malaise whilst going seriously middle ages on us. Peasant not only contained great songs and skewered arrangements, but storytelling of the highest quality.
A couple of older artists, Paul Weller and Bonnie ‘Prince’ Billy released great records rather effortlessly – A Kind Revolution and Best Troubadour respectively are fine albums for any time and era. Sufjan Stevens reimagined his very special Carrie & Lowell as The Greatest Gift and managed to wring out even more jewels from the cupboard. Karin Dreijer returned as Fever Ray and brought with her a new manifesto of lesbian lust and kinky, warped electronica. Perfume Geniusremained imperious on his wonderful No Shape, whilst Mac DeMarco in all senses matured into an indie Cat Stevens on his rustic yet enjoyable This Old Dog. Angel Olsen offered some outtakes with that amazing voice of hers managing to turn any half-baked idea into gold. Arca’s self titled album found new forms of expression and mystery, a record I kept returning too and experiencing with different feelings every time.
The record I listened to the most was King Krule’s The OOZ. I went into detail on this last month, but as the year ends, The OOZ’s street insights and world-weary breakdown seem to reflect the year better than any other release. It’s an uncompromising listen that encapsulates the 2017 flunk perfectly. It’s the antidote to all out electronic addictions whilst simultaneously demanding our attention to wonder what it’s all about.
Surprise, intrigue, mystery and a sense of adventure have all been in short supply. It often feels that pop music has taken an easy route and this past year managed to hammer the point home. If 2018 could promise one thing, it’s to forget about how we consume music. Let us focus a bit more on the music itself, with some opinions and good writing in the mix. That would be most welcome.
Listen to a playlist here
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On May 2nd 1568, Mary, Queen of Scots, escaped from Loch Leven castle and revoked her abdication.
There was nothing boring about oor Mary I, Queen of Scots, she first visited Loch Leven castle, standing on its island in the picturesque loch, in 1565, as a guest of Sir William Douglas. From then on, during her short reign, Mary Stuart was a frequent visitor to the castle of Loch Leven and at times used it as a base for her favourite pastime of hawking. Mary last visited Loch Leven castle on the 17th of June, 1567, but on that occasion, she wasn’t really a visitor. Instead, she arrived as a prisoner and her forced visit lasted almost a whole year. With the help of various sympathisers and relatives of her gaolers, Mary eventually managed an escape on the 2nd of May, 1568. Thereafter, she revoked her recent forced abdication and gathered an army to move on Dumbarton castle.
This adventure began after the murder of Mary’s second husband, Henry, Lord Darnley. Many of Mary’s Nobles opposed her marriage to Bothwell, rising against her and her recently created Duke. A Protestant Army of three thousand men, led by the Earl of Morton and the Confederate Lords, met Mary’s Army at Carberry Hill, not far from Edinburgh, on the 15th of June, 1567. After six hours of fighting, Mary persuaded Bothwell to leave the field. Abandoned by her Duke, Mary surrendered to an Earl.
Shortly after her defeat at Carberry Hill and after a brief pit stop in Edinburgh, Mary was taken to Loch Leven castle by her Lords Lindsay and Ruthven, under the instructions of her half brother, the Earl of Moray. She was given into the custody of Sir William Douglas of Lochleven and spent most of her captivity living in the early 16th century Glassin Tower, at the south east corner of the castle. At one time, foiling an earlier escape plan, she was moved to the Solar Storey of the Main Tower, above the Great Hall. Throughout her time in the castle, she was accompanied by her own cook, her physician and Jane Kennedy, Marie Courcelles and the faithful Mary Seton; ladies in waiting.
Aside from Sir William, the household included his mother, Lady Margaret Douglas, also mother of the aforementioned Earl of Moray, and his brother George Douglas, as well as a young, orphaned relative, who was possibly an illegitimate son of Sir William. Before her marriage, Lady Douglas had been the mistress of Mary’s father, James V, and six children were born out of that relationship, including the Earl of Moray. Morals were quite different in those days and it wasn’t uncommon for Kings, in especial, to beget several illegitimate offspring. The present day censure over Mary’s morals should, instead, be considered in the context of her own times. In reality, Mary Stuart wisnae muckle different from any other royal and she shouldna’ be criticised for her affairs; no more so than any of her male peers or even her ain faither. It’s said that Lady Douglas resented Mary’s presence on the throne, believing that her son, Moray, should’ve been King. However, as Moray was illegitimate, he could never have ascended the throne. But Moray did become Regent, in August, 1567; King in all but name.
Famously, Mary fell ill soon after her arrival at Loch Leven castle and, sometime before the 24th of July, she gave birth, prematurely, to stillborn twins that she may well have ‘scandalously’ conceived with Bothwell before Darnley’s murder. Her secretary, Claude Nau, who wrote under her authority, stated that the twins were buried on the island. There is another, less probable version, which suggests that Mary gave birth to a daughter who was smuggled out of Lochleven and sent to France. Whatever the truth of that matter of the bairns, Mary was certainly in a very weakened and vulnerable state when, under Moray’s instructions, the Lords Ruthven, Melville and Lindsay presented her with abdication papers. Under considerable duress and threat from Lindsay in particular, Mary was forced to sign the papers, which she did on the 24th of July, 1567. She abdicated in favour of her infant son James, who was at that time just over a year old. James VI (& I) would be a mere ten months old when his mother later saw him for the last time.
The young and handsome George Douglas reputedly fell in love with Mary from the moment he met her, and the ‘young, orphaned relative’, a youth of between fourteen and sixteen years of age, was also bewitched by the beautiful Queen. The latter has been consigned to history as ‘Wee Willie Douglas’. Perhaps that was a moniker given him by his ally – and rival for Mary’s affections – Geordie Douglas. Unsurprisingly, those two dopey, love struck characters played an important part in Mary’s escape. Aided by the starry-eyed Douglases acting undercover ‘on the inside’, various plans were made to help Mary escape. Those were either too fantastic to attempt or failed in their construction or, in the one case when an actual attempt was made, foiled by the attention of a boatman.
Finally, however, on the 2nd of May, 1568, Mary succeeded in escaping, primarily with the help of Wee Willie Douglas. The little hero managed to steal the keys to the Postern Gate from the table beside Sir William Douglas, when said gentleman was a wee bit the worse for wear after a banquet in the Great Hall. Mary, dressed as a servant girl, and Jane Kennedy made their way downstairs, across the courtyard and through the gates. Together, the three slipped away in one of the boats and rowed ashore, where George Douglas was waiting to welcome them and guide Mary to Niddry Castle, in Lothian. Legend has it that Wee Willie locked the castle gates behind him and, when half way to the shore, threw the keys into the water. Interestingly, when the Loch was being lowered, in 1831, a set of eight keys was found in the mud.
Immediately after her daring escape, Mary tried to have her abdication declared invalid and, with many Nobles readily declaring for her, was able to gather an army. However, that army was soundly defeated, in the space of an hour, by an opposing army, led by her half brother, the Earl of Moray. That was the Battle of Longside, that was, which took place just outside of Glasgow. Against the advice of her loyal Nobles, Mary fled south to England, in the hope that Queen Elizabeth I would help her. However, that wee plan wisnae as successful as her escape plan from Loch Leven. Mary was held in captivity for a further seventeen years and, in 1587, found guilty of being associated with various conspiracies, including the ‘Babington Plot’ and ultimately beheaded at Fotheringhay Castle.
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Faiz Ahmad Faiz could be 20th century’s most relevant poet, here are a few shayaris that will tug at your heart strings - art and culture
One of the most celebrated and popular shayars of the 20th century, Faiz Ahmad Faiz was a versatile creative mind. Faiz was also the poet’s takhallus (a pen name). He is credited with countless couplets (shers), radio plays, children’s stories, letters to his wife and children from jail apart from a number of travelogues. He was best-known for his progressive writings which were as popular in pre-Partition India as he was appreciated across the world for his ghazals and shers. In 1951, Faiz was arrested with a group of army officers under the Safety Act, and charged with a failed coup attempt that became known as the Rawalpindi Conspiracy Case. He was jailed for four years and released on amnesty.The first major translation Faiz’s work was released in 1971. It won’t be incorrect to say that Faiz’s everlasting appeal, that connects with the youth today as well, was to Urdu poetry in the 20th century, what Mirza Ghalib and Mir Taqi Mir were in the 19th and 18th centuries respectively. According to Faiz, the usage of words such as zulf, paimana and mohabbat to ensure a poem got a high reach. Some renowned writers and poets from the sub-continent namely Khushwant Singh, Shiv K Kumar, Vikram Seth, Shoaib Hashmi, among others have all translated Faiz’s impactful poetry. ALSO READ: Translating Faiz over and againHum Dekhenge written by Faiz in reference to military dictator Zia-ul-Haq in 1979, became a point of contention in the recent protests against the CAA bill. IIT-Kanpur students had taken out a peaceful march on the campus on December 17, 2019 in support of the students of Jamia Millia Islamia and during the march, the students sang the Faiz poem. The Indian Institute of Technology, Kanpur has formed a panel to decide whether the poem has an ‘anti-Hindu’ context. The complaint was based on two lines of the poem, which read: “Sab takht giraye jayenge. Bas naam rahega Allah ka. Hum dekhenge. (When thrones will vanish, only Allah’s name will remain)”, which triggered the professor who filed this complaint. Speaking to ANI about Faiz and the recent controversy, the writer told ANI, “Calling Faiz Ahmed Faiz ‘anti-Hindu’ is so absurd and funny that it’s difficult to seriously talk about it.” “He lived half his life outside Pakistan, he was called anti-Pakistan there. Hum Dekhenge he wrote against Zia ul Haq’s government which was a communal regressive and fundamentalist government,” Akhtar told ANI.This poem’s verses have also been used by Coke Studio in a song that piqued many a listeners’ interest in the legendary poet’s work. For readers who are yet to be initiated into Faiz’s poetry, his work isn’t one to leave you once you’ve read it. It might even have different meanings for every reader at the point in life when they’ve read Faiz’s work. For a die-hard romantic, his lines on matters of the heart, heartbreak and longing is sure to leave you with a feeling one can hardly describe in words. From translations to various pop culture references, there’s a lot of depth one can delve into with Faiz’s beautiful poetry. Here’s a list of some of his popular shers: 1) Aur bhi dukh haiñ zamane meñ mohabbat ke siva rahateñ aur bhi haiñ vasl ki rahat ke siva
2) Dil na-umid to nahiñ nakam hi to hai lambi hai gham ki shaam magar shaam hi to hai
3) Aur kya dekhne ko baaqi hai aap se dil laga ke dekh liya
4) Tumhari yaad ke jab zakhm bharne lagte haiñ kisi bahane tumheñ yaad karne lagte haiñ
5) Vo baat saare fasane meñ jis ka zikr na tha vo baat un ko bahut na-gavar guzri hai
6) Guloñ meñ rañg bhare bad-e-nau-bahar chale chale bhi aao ki gulshan ka karobar chale
7) Ye aarzu bhi badi chiiz hai magar hamdam visal-e-yar faqat aarzu ki baat nahiñ
8) Na gul khile haiñ na un se mile na mai pi hai ajiib rañg meñ ab ke bahar guzri hai
9) Mujh se pahli si mohabbat miri mahbub na maañg maiñ ne samjha tha ki tu hai to darakhshañ hai hayat
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