BRIGHT Star of Beauty! on whose Eyelids sit
A thousand nymph-like and enamoured Graces,
The Goddesses of Memory and Wit,
Which there in order take their several places.
In whose dear Bosom, sweet delicious LOVE
Lays down his quiver, which he once did bear,
Since he that blessèd Paradise did prove;
And leaves his mother’s lap, to sport him there.
Let others strive to entertain with words!
My soul is of a braver mettle made:
I hold that vile, which vulgar Wit affords,
In me ’s that faith which Time cannot invade!
Let what I praise, be still made good by you!
Be you most worthy, whilst I am most true!
A thousand nymph-like and enamoured Graces,
The Goddesses of Memory and Wit,
Which there in order take their several places.
In whose dear Bosom, sweet delicious LOVE
Lays down his quiver, which he once did bear,
Since he that blessèd Paradise did prove;
And leaves his mother’s lap, to sport him there.
Let others strive to entertain with words!
My soul is of a braver mettle made:
I hold that vile, which vulgar Wit affords,
In me ’s that faith which Time cannot invade!
Let what I praise, be still made good by you!
Be you most worthy, whilst I am most true!
The Rothko Chapel, 1971, Houston, Texas
"As Rothko said upon completing the Chapel paintings, “I wanted to paint both the finite and the infinite.”
"The Chapel would consume six years of Rothko’s life, gradually transforming him and his art into an exploration and devotion for the possibility of transcendence. To witness the work of Rothko with the Chapel is to submit one’s self to a spiritual experience, which, through its transcendence of subject matter, brings us closer to consciousness itself. It allows us to approach the limits of experience and awakens one to the awareness of our existence. It is through the level of transcendence of the fourteen large paintings whose dark, nearly impenetrable surfaces represents contemplation and the void needed to be found where one can truly explore a greater meaning to the questions being searched.
Rothko Chapel / Philip Johnson, Howard Barnstone, Eugene Aubry and Mark Rothko
"The Chapel would consume six years of Rothko’s life, gradually transforming him and his art into an exploration and devotion for the possibility of transcendence. To witness the work of Rothko with the Chapel is to submit one’s self to a spiritual experience, which, through its transcendence of subject matter, brings us closer to consciousness itself. It allows us to approach the limits of experience and awakens one to the awareness of our existence. It is through the level of transcendence of the fourteen large paintings whose dark, nearly impenetrable surfaces represents contemplation and the void needed to be found where one can truly explore a greater meaning to the questions being searched.
Rothko Chapel / Philip Johnson, Howard Barnstone, Eugene Aubry and Mark Rothko
"12.
Have ye now learned my song? Have ye divined what it would say? Well! Cheer up! Ye higher men, sing now my roundelay!
Sing now yourselves the song, the name of which is "Once more," the signification of which is "Unto all eternity!"—sing, ye higher men, Zarathustra's roundelay!
Friedrich Nietzsche, "Thus Spake Zarathustra: A Book For All And None", LXXIX. The Drunken Song.
- O man! Take heed!
- What saith deep midnight's voice indeed?
- “I slept my sleep-,
- “From deepest dream I've woke, and plead:-
- “The world is deep,
- “And deeper than the day could read.
- “Deep is its woe-,
- “Joy—deeper still than grief can be:
- “Woe saith: Hence! Go!
- “But joys all want eternity-,
- “-Want deep, profound eternity!”
Friedrich Nietzsche, "Thus Spake Zarathustra: A Book For All And None", LXXIX. The Drunken Song.
"(...) In the morning, however, after this night, Zarathustra jumped up from his couch, and, having girded his loins, he came out of his cave glowing and strong, like a morning sun coming out of gloomy mountains.
"Thou great star," spake he, as he had spoken once before, "thou deep eye of happiness, what would be all thy happiness if thou hadst not THOSE for whom thou shinest!
And if they remained in their chambers whilst thou art already awake, and comest and bestowest and distributest, how would thy proud modesty upbraid for it!
Well! they still sleep, these higher men, whilst I am awake: THEY are not my proper companions! Not for them do I wait here in my mountains.
At my work I want to be, at my day: but they understand not what are the signs of my morning, my step--is not for them the awakening-call.
They still sleep in my cave; their dream still drinketh at my drunken songs. The audient ear for ME--the OBEDIENT ear, is yet lacking in their limbs."
--This had Zarathustra spoken to his heart when the sun arose: then looked he inquiringly aloft, for he heard above him the sharp call of his eagle. "Well!" called he upwards, "thus is it pleasing and proper to me. Mine animals are awake, for I am awake.
Mine eagle is awake, and like me honoureth the sun. With eagle-talons doth it grasp at the new light. Ye are my proper animals; I love you.
But still do I lack my proper men!"--
Thus spake Zarathustra; then, however, it happened that all on a sudden he became aware that he was flocked around and fluttered around, as if by innumerable birds,--the whizzing of so many wings, however, and the crowding around his head was so great that he shut his eyes. And verily, there came down upon him as it were a cloud, like a cloud of arrows which poureth upon a new enemy. But behold, here it was a cloud of love, and showered upon a new friend. (...)"
Donny Miller art
