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categories: Maltese philosophers,Maltese culture,Maltese educational theorists,Maltese poets,People from Mdina,Maltese academics,Maltese educators,Maltese male writers,1485 deaths,1400 births,Male poets,15th-century philosophers

paragraph: Pietru Caxaro

paragraph: Pietru "Peter" Caxaro (c. 14001485) was a Maltese philosopher and poet. He is so far Malta's first known philosopher, fragments of whose works are extant. His philosophical views and positions qualify him as an honourable adherent of the mediaeval humanist movement. His contribution skilfully stands as a mature reflection of the social and cultural revival of his time.

paragraph: Caxaro's cultural preparation and his humanistic character, together with his philosophy, entirely reflect the peculiar force, functions and needs of a Mediterranean people whose golden age had still to come, but whose mental constitution and mode of expression were readily set. The discovery of the man and his philosophy is immeasurably relevant to further recognition of the wise tenure of an ancient civilization.

paragraph: No portrait of Caxaro has been found.

paragraph: Section::::Family.

paragraph: Peter Caxaro was born of a noble Mdina family in Malta. Unfortunately, the date of his birth is still unknown, and it is very doubtful whether it had ever been recorded at all. We might suppose, however, that he was born around the beginning of the 15th century, perhaps around 1400.

paragraph: His father's name was Leo, and his mother's Zuna. It might be possible that the family was of Jewish descent and had been forced to convert to Christianity. It is known that one of Caxaro's brothers, Nicholas, was killed in 1473 following a brawl with people from Siġġiewi, Malta, because of a girl he was secretly seeing.

paragraph: Section::::Studies and offices.

paragraph: Caxaro's first studies were undertaken in Malta. Later, he went to Palermo, Sicily, to pursue them further. At the time, Palermo was a flourishing city imbued with the spirit of Renaissance humanism. There, Caxaro completed his studies and became a notary in 1438. A couple of months after his graduation, he was appointed judge at the courts of Gozo for the years 1440-1441. In 1441, he also sat as judge in the courts of Malta, and the similarly in 1475. He was judge at the civil courts in 1460-1461, 1470–1471 and 1481–1482, and judge at the ecclesiastical courts in 1473 and 1480-1481.

paragraph: Caxaro was also jurat at the Town Council of Mdina in 1452-1453, 1458–1459, 1461–1462, 1469–1470, 1474–1475 and 1482-1483. He was a notary or secretary to the same council in 1460 and 1468.

paragraph: He possessed considerable property at the northern side of Malta, and was the owner of six slaves.

paragraph: Section::::Friendship with Dominicans.

paragraph: During all this time, Caxaro was on very good terms with the Dominican friars. These had a monastery at Rabat, Malta, very close to Mdina, Caxaro's home-town and centre of operation. The Dominicans had originally arrived in Malta around 1450, and quickly forged good friendships amongst the literary population and professional people, including academics. Towards the end of the 15th century, the Dominicans could boast of erudite friars amongst their fold, such as Peter Xara, Peter Zurki, Dominic Bartolo (who was also Pro-Inquisitor for some cases of the Inquisition in Malta) and Bartolomeus Pace.

paragraph: Caxaro was certainly a good friend of some of these men, both for intellectual as well as personal reasons. The fact that he designated the Dominicans as his general inheritors, or residuary legatees, in his will is proof enough of this.

paragraph: Section::::Marriage attempt.

paragraph: Around 1463, Caxaro aspired to marrying a widow, Franca de Biglera. However, her brother, a Canon at the bishop's cathedral chapter, objected on the grounds of “spiritual affinity”, since Caxaro's father was a godfather to Franca.

paragraph: Despite the fact that Caxaro did all he could to win Franca over, and also obtained the official blessing of the bishop of Malta, the marriage did not take place. To the great consternation of Caxaro, Franca changed her mind.

paragraph: Caxaro remained a bachelor to the end of his days.

paragraph: Section::::Excommunicated.

paragraph: At the Town Council of Mdina Caxaro had three particular themes which he seemed to come to life about: the welfare and maintenance of his town-home Mdina, the education of the common people, and the accountability of civil servants.

paragraph: In 1480, Caxaro took an active and bold part in an issue which involved the bishop of Malta, who was suspected of corruption. Caxaro was vehement against such corruption, and vigorous in his demand for an immediate remedy. In June 1480, as an act of retaliation, the bishop excommunicated him, an action which was considered immensely serious in those days. Nevertheless, Caxaro was unyielding in his opposition and demands. Consequently, the bishop interdicted him. However, Caxaro was nonetheless undaunted.

paragraph: The issue lingered on until the first half of the following year, when the bishop had to accede to Caxaro's and the Town Council's demands. Accordingly, the excommunication and the interdict were removed. Caxaro's determination and resolve in the matter were highly praised.

paragraph: Section::::Death.

paragraph: On August 12, 1485, Caxaro drew up his will, and died a few days later. The precise date of his death is still not known with any certainty. All his possession went to the Dominican friars.

paragraph: It is not known where he was initially buried. However, later, as he had it willed, his remains were laid to rest in one of the newly built chapels of the church of St. Dominic at Rabat, Malta. The chapel had been actually constructed at Caxaro's expense, and dedicated to Our Lady of Divine Help.

paragraph: A memorial was unveiled within the same chapel over Caxaro's tomb on September 30, 1992.

paragraph: Section::::Caxaro's cultural formation.

paragraph: Section::::Caxaro's cultural formation.:Unveiled.

paragraph: Peter Caxaro was virtually unknown until he was made famous in 1968 by the publication of his "Cantilena" by the Dominican Michael Fsadni and Godfrey Wettinger. It was Michael Fsadni who discovered the "Cantilena" on September 22, 1966, at the back of the third page from the last in the first of Reverend Brandan Caxaro's notarial registers (1533–1536), currently numbered R175, in the Notarial Archives, Valletta. Caxaro's work was actually transcribed by Rev. Brandan himself in its original Maltese version. The discovery was encountered with enthusiasm within scholarship circles since it had eventually given Maltese literature its greatest boost for a very long time. It had taken the authors about two years before they were able to present Caxaro's "Cantilena" to the general public.

paragraph: The authenticity of Caxaro's work is undoubtable, and so is Brandan's transcription. The discoverers themselves, both reliable historical researchers, carefully examined the document and found that it could not reveal any suspicious feature. It was next to impossible for the document to have been faked so well that no sign of its faking remained.

paragraph: Up till 1968, modern scholarly references to Peter Caxaro had been few. The first known to have referred to him was the Dominican Paul Galea in his history of the Dominicans at Rabat, Malta, published in 1949. Further data was produced by Michael Fsadni O.P. in 1965, also attempting his hand at a similar history. Both friars based their information on a common source; namely, on the "Descrittione delli Tre Conventi che l’Ordine dei Predicatori tiene nell’Isola di Malta", I, 1, by Francesco Maria Azzopardo O.P., written about 1676.

paragraph: Mention of Caxaro had also been made in a work preceding Azzopardo's by approximately three decades. This had been by Giovanni Francesco Abela's 1647 publication entitled (in short) "Della Descrittione di Malta".

paragraph: Section::::Caxaro's cultural formation.:The man.

paragraph: Introducing his transcription of the composition, Rev. Brandan - a member of the Society of True Christians - indicated its author as a "philosopher, poet and orator".

paragraph: On examination, it is positively held that Caxaro's original version was in the Maltese tongue, and that Rev. Brandan transcribed it as faithfully as possible as he recalled it. The composition proves that Caxaro's qualification as a philosopher, poet and orator is fully justified since its construction is professionally accomplished. He certainly was a man of learning.

paragraph: Lately, a few proposals have been made which held that the said composition, in part or as a whole, does not have Peter Caxaro as its author. It has been said that the poem is none other than Rev. Brandan's innocent transcription in Latin characters of a Megrebian or Andalusian "qasida". The proponent unscientifically based his suppositions, as he himself said, on an “extrasensorial impression”. Thus the author hastily concluded that the qualifications attributed to Caxaro by Rev. Brandan are spurious.

paragraph: The truth, however, seems to be otherwise. Caxaro's competence as a poetic writer, apart from his philosophic and oratorical skills, is highly estimable. He seems to qualify as a phonetic master, as well as one having control of classical rhetoric techniques. He has tact in expressing his veiled poetic thought in striking and tempting allusions. In other words, Caxaro is a forceful writer, possessing clarity of thought, and is confident in handling of style. The "Cantilena" is a piece of fine literature; the work of dextrous mastership. It shows a very particular formal attention, and an uncommon capability of stylistic invention in its structure.

paragraph: It must be noticed, however, that Giovanni Francesco Abela, in his "Descrittione" of 1647, did not include Caxaro in his list of some forty-six "Houmini di Malta per varie guise d’eccellenza celebri, e famosi", of which not all are that illustrious. Abela could have mentioned Caxaro's philosophic, poetic or oratorical skills, if anything. This may suggest that Caxaro's aptitudes were somewhat concealed.

paragraph: The known sources of Caxaro's biographical data are few, namely four, the State Archives of Palermo, Sicily ("Protocollo del Regno", mainly vol. 34), the National Library of Malta ("Universitas", 11), the Archives of the Dominicans, Rabat (Ms. 321, "Giuliana Antica", I), and "Della Descrittione di Malta Isola nel Mare Siciliano con le sue Antichità, ed altre Notitie" of Giovanni Francesco Abela, printed by Paolo Bonecota, Malta, in 1647 ("passim").

paragraph: The first known date regarding Caxaro is April 1, 1438, when he set for the examination to be given the warrant of public notary of Malta and Gozo by the competent authorities in Palermo, Sicily. In those times, Malta and its dependencies formed part of the Kingdom of Aragon. This means that Caxaro had spent some time in Palermo, a city then imbued with humanism.

paragraph: Next, we are informed of a series of appointments in Malta and Gozo between 1440 and 1483, a span of forty-three years. Alternatively or concurrently, at one time or another Caxaro acted as judge in the civil courts of Gozo and of Malta, and in the ecclesiastical cours. He was further juror in Malta at the Mdina city-council, to which he sometimes acted as secretary.

paragraph: Finally, the Dominicans at Rabat, Malta preserve a substantial part of his will, drawn on August 12, 1485, shortly before his death. No wife or offspring are mentioned in the will.

paragraph: Caxaro had willed that he be buried in the Dominican newly built church at Rabat, as eventually happened. in a chapel built at his own expense, dedicated to the "Gloriosissima Vergine del Soccorso".

paragraph: It is further known with certainty that Peter Caxaro was a native of Malta, born of Maltese parents, and lived at Mdina. His date of birth is still unknown. His immobile property was considerable, though not exuberant. It is known that he had in his service at least six slaves.

paragraph: Apart from Caxaro's public offices and death, which is satisfactorily documented, two other personal episodes are known. The first, occurring either in 1463 or 1478, concerns his proposed marriage to Francha di Biglera. From the court proceedings we know that Caxaro's father had frequently visited Catalonia (specifically Barcelona and Valencia). This may have some bearing on Peter's own formation.

paragraph: The second instance concerns the murder of Caxaro's brother, Cola, in 1473 at Siggiewi, Malta, which may have given a not-so-good reputation to his family.

paragraph: The most recent significant addition to the personal data and profile of Peter Caxaro was made by Frans Sammut in 2009. He suggested that Caxaro came from a Jewish family that had been converted to Christianity. In support of his claim he proposed that Caxaro's "Cantilena" was in fact a "zajal", which in Arabic refers to a song which the Jews of Spain (and Sicily) adopted and promoted.

paragraph: Section::::Caxaro's cultural formation.:Extant fragments.

paragraph: Little of Caxaro's scholarship is known to exist. Much work has yet to be accomplished in this difficult field. We only possess isolated parts of his contributions, the most complete being the "Cantilena", which, in itself, comes down to us through an imperfect, indirect source.

paragraph: That Brandan's transcript of the "Cantilena" is faulty is evident from various internal traits. Furthermore, the reasons for which Brandan recalled the work, and even the manner in which he did so, is unto this day a baffling uncertainty. The cheerfulness felt by Brandan apparently seems to be doubly caused, namely by both the memory of the composition "and" the memory of his ancestor (with a necessary relationship of one to the other). Brandan's opening sentence of the short prologue seems to suggest that he was gladdened "more" by the relationship than by any of the related parts. Wettinger and Fsadni had suggested that it was the consolation which Brandan saw in the content of the composition that prompted him to leave us a memory of it, writing it down in one of the registers of his acts. But this is a question which must still be open to discussion.

paragraph: The first to seriously suspect certain imperfections in Brandan's transcript was Joseph Brincat in 1986, suspicious of the verses which do not have any rhyme. He specifically refers here to the four lines of the refrain (vv. 7-10) and the first four lines of the second stanza (vv. 11-14). Brincat, guided by his erudition as by common sense, concludes that the quatrain which stands on its own between the two stanzas, of six verses and ten verses each respectively, is erroneously transcribed by Brandan. Brincat very aptly provides convincing internal evidence for the error. Brincat's important conclusion was followed by other scholars, and to which we also subscribe here.

paragraph: Apart from the "Cantilena", other fragments concerning Caxaro's contributions are extant, namely, a few judicial sentences passed by Caxaro at the ecclesiastical courts, and secretarial minutes taken at the Mdina town-council meetings in which Caxaro took part. Both are naturally extra-philosophical in nature.

paragraph: The sentences, however interesting they may be, only give us an inkling into the equilibrate soberness of Caxaro. Herein, we search in vain for any of Caxaro's own original thinking, apart from the arid judicial and official terminology.

paragraph: The same may be said of the municipal acts. Only here the information provided regards Caxaro's context in matters which interested his town (Mdina) particularly, and the Maltese Islands in general. Caxaro's name is mentioned at least in some 267 sittings of the council between 1447 and 1485. At most of these, he had a minor say; at other times, his share is more substantial. Some acts are also written in Caxaro's own hand.

paragraph: Section::::Caxaro's cultural formation.:The philosopher.

paragraph: "Philosopher" is the title attributed to Caxaro by Rev. Brandan. In the rest of the "Cantilena"’s prologue, which is formally in accord with the general practice of the times, the poetic rather than the philosophical or oratorical excellences of Caxaro are emphasized. These are left in the shadow, even by modern scholars. It has been naively ventured that the appellative "philosopher" is to be understood merely in the sense of a man of wisdom or learning ("“bniedem gharef”", literally indicating a sophist rather than a philosopher). However, being a trustworthy notary in possession of a precise vocabulary (to which the rest of the prologue, at least, is witness), Rev. Brandan is to be understood in a strict sense. The hope of the discovery of corroborative material in this regard must remain enkindled.

paragraph: The fact that a man's philosophy is to be detected from nothing more than a fragment of his written thought, however substantial it may be, does not make novelty in the history of philosophy. Innumerable cases of the sort may be found to exist, including philosophers of a gigantic stature, such as the Miletians, or even Aristotle himself.

paragraph: The same is to be said regarding the poetic form of Caxaro's extant philosophy. We have similar cases with philosophers of outstanding relevance, such as the Eleatics, including Parmenides himself, the father of philosophy. However, here, with Caxaro's case, the question is slightly more complex. We do not have to do with a then out-going poetic custom in an age where prose took the precedence, as in the Greek naturalistic philosophers (of the 5th century BCE). We are in the context of (15th-century) Medieval philosophy, highly susceptible to classical literature, both Greek and Roman, but particularly to Plato and Aristotle. Here, more than anything else, the poetic form is a technique, an expressive and cognitive distinction.

paragraph: Some scholars today, especially those brought up in a scholastic tradition, would like to qualify a philosophic work from its systematic nature. Such a definite distinctness would have philosophers like Aristotle, Avicenna, Albertus Magnus, Aquinas, and the like, fitting like drawers. On the other hand, however, it would unwittingly exclude, if none other, Plato himself, the archetype philosopher of all time, who, unlike the scientist Aristotle, is an artist prior to being a philosopher. The "Corpus Platonicum" stands as evident testimony.

paragraph: Thus Caxaro is part of a tradition which may characteristically and properly be called "platonic". The accent here would fall less on unsystemization, and more on narration, or better, on the "myth-type" philosophy in its technical connotation. From the formal, essential aspect, we are in the line of Plato, St. Augustine and the Medieval neo-Platonists, especially those with a humanistic formation in the early Renaissance period. This was later continued by people like Descartes, Pascal, Rousseau, Nietzsche, and the like. In general, it is a philosophical trend commencing with an "ideal" response, technically speaking, to Parmenides' concept of being, marked with an intense attention to the affective functions in man, to that knowledge acquired through a volitive prompting, and further manifested with an openness to flexibility. Though the will is duly valued, the intrinsic mental capabilities of man are held to be necessary, prior to the senses, in discovering the true object of knowledge, that being which is different and superior to mere sense data.

paragraph: Section::::A Humanistic character.

paragraph: It seems to be opportune at this point to highlight two instances from Caxaro's acquaintances, namely, his father's contact with Barcelona and Valencia, and Caxaro's own connection with Palermo.

paragraph: Section::::A Humanistic character.:Humanist Catalonia.

paragraph: Catalonia, together with Aragon, became familiar with humanism before Castille. The first contact of the Catalan scholars with the movement was at its first appearance at the Pontifical court of Avignon, where Petrarch sojourned, and at the Council of Constance (1414–1418), Basle (1431) and Florence (1438–1455), as at the Neapolitan court of Alphonse V of Aragon, so-called "El Magnanimo" (died 1458).

paragraph: The Catalan movement was initiated by Juan Fernandez' efforts in the 14th century. Fernandez travelled to the East and returned with many Greek manuscripts. He later established himself as a translator, compiler and commentator of classical texts, therefore giving rise to a literary culture concerned with human interests.

paragraph: Fernandez was followed by other men of standing, such as Pedro de Saplana, a Dominican (14th century), Antonio Canals, Bernat Metge ("c".1340-1413), Carlos de Aragon (1421–1461), nephew of King Alphonse V, and Bachiller Alfonso de la Torre (15th century). These men of letters concentrated on the works of Aristotle, Boethius, Petrarch, Boccaccio, Marcianus Capella, Pedro Campostella, and the like. They were additionally highly instrumental in animating the cultural centres of Barcelona and Valencia with the spirit of humanism.

paragraph: It would not be surprising that Caxaro's father, in the course of his constant voyaging between Catalonia, Sicily and Malta, like so many other tradesmen of his time, came in contact with the then prevailing environment of Spain's Mediterranean city-harbours. Here, as elsewhere, humanism was not restricted to mere cultural circles, but had become the philosophy of the people. Caxaro, apart from his father, had other members of his family, together with many of his townfolk, taking part in this same commerce of goods and ideas.

paragraph: Section::::A Humanistic character.:Humanist Palermo.

paragraph: King Alphonse the Magnanimous of Aragon, asserting his seat at Naples, and set in giving additional splendour to the reign of Aragon, was successful in changing the Neapolitan court in one of Renaissance's most brilliant great centres. Naples and its favoured twin Palermo were visited by the most eminent of humanists from all over the Italian peninsula, Catalonia, Castile and Aragon.

paragraph: From the first half of the 15th century onwards, Palermo went through an enormous and impressive economic, demographic and urbanistic development, manifesting a substantial cultural facelift. Though the times were rather difficult due to the frequent incursions of the Turks, and the disastrous effect of epidemics and other diseases, the enthusiasts of the "humanæ litteræ" were great in number. Up to Caxaro's visit to Palermo many native men familiar with the "studia humanitatis" made a name for themselves and for their town, scholars like Giovanni Aurispa and Giovanni Marrasio.

paragraph: As in the case of Catalonia, the spirit of humanism was imported to Sicily from Northern Italy where large numbers of Palemitans went to study. Prior to 1445, when the "Studio di Catania" was established, it was Palermo which attracted the largest number of law students. These were centres where the classical texts were circulated mainly in manuscript form. In those days, the large number of intellectuals and law students considered the juridical culture as instrumental in acquiring a worthy social standing. The professional state, especially the juridical, became an integral part of the refreshed milieu of the times at Palermo. Moreover, while the use of the vulgar tongues became established as a practised norm, the so-called "cultura del decoro" of the humanists became, more than restricted to cultural circles, a quality of life. Slowly it became the diffused, general mentality of the educated Palermitans.

paragraph: During his visit to Palermo the young Caxaro himself must have been extremely impressed by the evident restoration and construction of Palermo's edifices, both within and without the walls, according to the tastes of the time. The whole city was caught in a rediscovered renovation, manifesting a strong concern for the quality of life. The prevailing humanism brought to the fore a movement of the spirit, each time aesthetic, philosophic, scientific and religious, sharpening the notion of beauty, and brightening the relationship to nature (and naturalism).

paragraph: Caxaro's sojourn at Palermo in 1438 must have recalled to him King Alphonse's stop in Malta, amidst great pomp and exultation, five years earlier. The Magnanimous, personifying the spirit of the time, entered Mdina, Caxaro's town-fortress, "“con quelle magiori dimostrationi di giubilo, & applauso, che potevan originarsi da affetto sincero di devoti, e riverenti Vassalli verso il loro Signore”".

paragraph: Section::::A Humanistic character.:The spirit of mediaeval humanism.

paragraph: In order to comprehend better Caxaro's philosophy we cannot do less than grasp the spirit of humanism in his age.

paragraph: The heart of the Mediaeval humanists, as distinct from that of the 14th century Mediaeval masters, and from the exponents of the 16th century Renaissance, was the retrieval and imitation of the beauty of ancient letters. This had nothing of any anti-Christian sentiment but definitely emphasized naturalism enormously. The imitation of the customs of "pagan" antiquity came later.

paragraph: The beginning of humanism coincided with a number of other occurrences. In the first place, the Eastern Schism, a critical moment in the Catholic Church which weakened the papacy. Next, a marked ignorance of the clergy and a relaxation of discipline. Thirdly, the corruption of the customs of the high classes. And finally, the decadence of Scholasticism.

paragraph: The forerunners of humanism imprinted their views with surprising power. The works of Brunetto Latini (1230–1291), Dante Alighieri (1265–1321), Francesco Petrarca (1304–1374) and Giovanni Boccaccio (1313–1375) became the daily bread of the humanists. All of these extensively admired classical antiquity, idealising its splendour and richness, and dreaming of an ideal society equivalent to that apparently gorgeous achievement.

paragraph: Ironically (maybe), it was the melancholic and pessimistic cleric Petrarca who exerted the greatest influence on the humanists, advocating, like Socrates, the true wisdom in the knowledge of self, and true humility as the path to the secrets of life. His adherence to Plato and his fierce attacks on Scholasticism deeply impressed his posteriors. It was Petrarca, eventually, who supplied the humanist movement with its "battle-cries": "Rinascere! Rifiorire! Rivivere! Ritrovare! " ― stressing the "ri" more than anything else.

paragraph: The humanist rebirth was felt in the whole of Western Europe, especially in the Italian peninsula, France, England, the Netherlands, Germany and Spain. Being the cultural climax of all that has been done in the Middle Ages, the humanist wave of erudition superbly retrieved the Latin, Greek and Christian classical literature, with its proper techniques, methods, forms and tastes. It developed sciences, such as philology, palaeography, epigraphy, archaeology, numismatics, textual criticism and literary criticism, geography and history. It also gave rise to the printing press, the libraries, to new universities, paternities and literary associations, such as the renowned "Academic Platonica" of Marsilio Ficino (1433–1499). In other words, a true "renaissance" with its proper philosophy which recognises the value and dignity of man and makes him, as Protagoras would have it, the “measure of all things”, somehow taking human nature, its limits and delimits, together with its interests, as it main theme.

paragraph: Section::::The "Cantilena".

paragraph: The textual analyses of the "Cantilena", employed during these last twenty-five years, have given ample food for thought. In general, the comments regarded the embarrassing inconsistencies which exist in the extant copy of the "Cantilena".

paragraph: The literary value of Caxaro's work, and its standing in the Maltese literary tradition, has likewise been embellished from the historical literary analyses’ point of view. The general lines of this discussion, however, had already been quite satisfactorily described by Wettinger and Fsadni in 1968.

paragraph: More interesting comments had been advanced from the perspective of literary criticism. However, much work has to be done in this field, especially by scholars with professional standing on mediaeval Arabic, Spanish and Sicilian idioms, dialects and poetic forms.

paragraph: Due to the "Cantilena"’s uniqueness interesting results have been put forward by historical linguistics, emphasising the drastic changes in the Maltese language over a span of four centuries.

paragraph: What interests us here, however, is not the "Cantilena"’s literary value as much as its philosophical content. Before proceeding further, it would be opportune to give the transliteration of the "Cantilena":

paragraph: Paraphrased in English:

paragraph: Section::::The "Cantilena".:Idiosyncratic analysis.

paragraph: At its appearance in 1968 the "Cantilena" had been declared to be not readily understandable by today’s generation. The publishers themselves found it “terribly difficult and absolutely daunting”. The interpreter, it had been said, had to be a philologist, a Maltese, one in possession of Arabic, familiar with the history of Malta, and well informed on the author of the composition. It must be admitted that a foreigner, even if expert in this field of study, but unfamiliar to a Maltese way of thinking, will find the text difficult and obscure.

paragraph: The main idea of the text, the so-called “physical interpretation”, is simple enough. An uncontrollable person had been responsible for the collapse of a building which the author considered to be his. In other words, he had misjudged the situation. The theme seems to follow a definite scheme, namely, an apparently simple one: an invocation (vv. 1-2), the narration of an unhappy love event and the lyric I's situation thereby (vv. 3-6), its delusion (vv. 7-10, 11-14), and finally its attempt to reverse the misfortune (vv. 15-20). It is a scheme which in its content resembles the general classical Semitic (specifically Arabic) "qasida" pattern.

paragraph: A point of curiosity might be interesting here. As from the beginning of 1450, the Mdina town-council had been discussing the precarious state of the town walls (the "mirammerii") of Mdina. In March of that same year, the Augustinian Matteo di Malta had been commissioned as the town-council's ambassador to lead the talks with the viceroy on the question so as to provide funds for their urgent restoration. Little, if any, progress seems to have been made on the matter, until at the beginning of 1454 an internal tower of the castle at mdina collapsed. So as to take immediate action and prevent further immanent collapse of the walls, at the town-council sitting of January 11 Peter Caxaro, acting as secretary, spoke in favour of an urgent "collecta" (which was later effected), with the approval of the whole house. Furthermore, on May 24, Nicholas Caxaro, Peter's brother, had been appointed by the council as "supramarammerius" to supervise the restoration of the walls. On that occasion, Peter Caxaro had highly praised the decision taken. Strictly by way of speculation, it seems interesting to associate the "Cantilena"’s "mirammiti" to Mdina’s "marammerii" (being the same term). What is said in the "Cantilena"’s refrain might be identified to the disastrous collapse of part of Mdina's walls in 1454. The "Cantilena" might have been inspired from that serious occasion, which was the effect of a general negligence. Supposing that the "Cantilena" had been sung to some of those noblemen at the town-council who were collaborators of Caxaro (as is possible), such speculation might hold some water.

paragraph: Apart from the immediate and superficial message, we obviously have a more profound and veiled communication. The overall drift of this so-called “metaphysical interpretation”, has been seen to be the ruin of the author's project, either concerning his career or a love affair. The general melancholic tone of the composition did not pass unnoticed, though it had been recognised that the final note sounded the victory of hope over desperation; the building anew over the ruins of unfulfilled dreams or ambitions.

paragraph: In 1977 Wettinger categorically denied that the murder of Caxaro's brother had any relevance to the theme of the "Cantilena". On the other hand, he proposed that it may have to do with Caxaro's marriage proposal which apparently went up in smoke. The suggestion had been confirmed jointly by Wettinger and Fsadni in 1983.

paragraph: Though presumably well calculated, it would seem that the comments put forward so far reveal little depth, hinging on to a restricted inspection of the matter. This may have somewhat betrayed Caxaro's philosophic prowess. Some have audaciously stated that the composition has no depth of feeling at all. Others have indeed valued its content highly, wisely noting that the subject is entirely profane (as opposed to the sacred), and moreover sheds light on the concrete versus abstract thinking of the populace (a feature common amongst Mediterranean peoples unto this day); reality against illusion.

paragraph: What mostly concerns us here is Caxaro's idiosyncrasy in order to comprehend the entire complexity of his thought as it appears synthetically in the text. His cognitive peculiarities as well as his cultural shared-interests jointly constitute his marked philosophical views and positions.

paragraph: Section::::The "Cantilena".:The text.

paragraph: An idiosyncratic analysis of the "Cantilena" implies the minute examination of its constitution, particularly of the ideas expressed therein. In the first place we shall describe the intrinsic pattern in philosophical terms:

paragraph: A. VV. 1-2: THE INVOCATION: TRIAD OF COMMUNICATION

paragraph: B. VV. 3-6: THE LAMENTATION: CAUSATION

paragraph: C. VV. 7(11)-10(14): THE NARRATION: LOGIC

paragraph: Simplifying the whole syllogism, we have the following:

paragraph: The structure seems to be based on four moments, namely:

paragraph: The blame for the collapse of the house is given to none of the moments save the appearance of something real, namely, of the rock ("i.e.", the clay).

paragraph: D. VV. 11(15) – THE RENEWAL: METAPHYSICS

paragraph: Section::::Caxaro's philosophy.

paragraph: Given the aforementioned background to Caxaro's thought we shall hereunder indicate introductory and merely signalatory problematics proper to the philosopher under study. The suggested propositions can neither be exhaustive nor comprehensive but may simply aid our understanding of Caxaro's philosophical positions.

paragraph: Section::::Caxaro's philosophy.:The common tongue.

paragraph: In the first place it is never enough to emphasise the use of the (Maltese) vulgar idiom by Caxaro. This marked a qualitative leap which resulted from a humanistic formation. The option to express himself with masterly skill while positively valuing highly the language of the people, as opposed to the Latin and Sicilian idioms of the cultured class, indicates real quality on the part of Caxaro. Not only is it a mere choice of tongue but, over and above, it is the adherence to a set mentality peculiar to a geographic territory.

paragraph: It also shows the worth given to a local culture and heritage, considering it capable of standing on its own two feet on an equal par with that of other neighbouring countries. The use of the Maltese vulgar tongue is not a call for independent rule but an affirmation of a native identity characteristic of a people.

paragraph: Section::::Caxaro's philosophy.:Humankind at the centre.

paragraph: Similarly important is the profane theme and nature of Caxaro's composition. This marks a further sign of Caxaro's humanistic character. The "Cantilena" is not a-religious or anti-Christian but it decidedly does not belong to what is sacred, religious or biblical. It is definitely not irreverent or blasphemous but it characteristically considers life, persons and their surroundings from a human standing.

paragraph: The theme dwells on the qualities distinctive of the human nature, such faculties which affirm the astonishing skills of humans and their intrinsic power to transcend the otherwise despairing limitations of their essential characters. Caxaro's composition in fact shows a trustworthy reliance on the spiritual, or better, immaterial possibilities of humans. The "Cantilena" can thus rightly be considered a profession of faith in humankind.

paragraph: Such a belief reverts our attention to the classical humanism of the Sophists and of Socrates himself, a school which immensely inspired early Renaissance philosophy. We note here the surpassing of the merely naturalistic mentality of the classics, placing humans at the centre of serious consideration. The classical excellence of proposing natural solutions to age-old problems, over and above the former religious tentative answers, must not be discarded from the context.

paragraph: Section::::Caxaro's philosophy.:The sphere of reality.

paragraph: The concreteness of Caxaro's reflections stands out loud and clear against any theoretical speculation. The arid, scholastic, professional terminology and mental structure is completely done away with. The practical existential perspective to life and reality is preferred. This may be considered typically Maltese in nature or at least Mediterranean where an acute common sense is noticeable in everyday dealings.

paragraph: Caxaro's inclination towards action rather than speculation, subordinating (though not eliminating) the latter to the former reveals his inclination towards the platonic school and away from Aristotelico-Scholastic categories of thought.

paragraph: This, indeed, marks yet another asset to his humanistic character; a trait so strongly felt in the movement.

paragraph: Section::::Caxaro's philosophy.:Myth "vs." Logos.

paragraph: Narration in Caxaro, as elsewhere, does not imply shallowness. Nor does it hint at an incapability to express oneself otherwise, namely, in arbitrary (professional) terms. Narration must be considered also as a scientific genre of expression. In fact, it is a traditional technique rich in history where sophistication is purposely ignored, choosing a more fluid, free and inclusive mode of communication.

paragraph: Caxaro's composition, following the line of Plato's own professional preferences, is shrouded in a linguistic and conceptual veil so as to incite us to an active surmise. Its very narrative construction prompts our latent curiosity to probe the hidden meaning under the apparently shallow surface.

paragraph: As opposed to a technical (“Aristotelico-Scholastic”) form, which is almost always intrinsically rigid and lineated, even if more immediate and direct, Caxaro's philosophy is given under the disguise of a narration which has a reality of its own.

paragraph: While Caxaro himself synthetically states his concepts, especially as regards the unpleasantness of illusion, he prefers to express himself under “deceptive” clothing. The objective nature of his philosophy is thus skilfully guarded behind a screen through which a mere sensuous perception fails to penetrate.

paragraph: Section::::Caxaro's philosophy.:Allegory "vs." Parable.

paragraph: Caxaro's narration cannot be taken as a puerile typification of moral or spiritual relations. It is futile to search for strict correspondence between each and every figure he uses and concrete occurrences in life, his or any other. It is on these grounds that the “marriage proposal” interpretation must not be taken seriously, for it despoils Caxaro's composition from its abounding intrinsic qualities.

paragraph: Correspondences do exist indeed in the "Cantilena" between the various symbolisms which Caxaro harmoniously employs. In truth, he does not simply portray an image for the mere artificial imitation of its external form but moreover dwells on the wealthy analogous qualities of the theory of symbols so widely used in the Middle Ages.

paragraph: At this point it is essential to note that the use of allegory in Caxaro's "Cantilena", in accordance with Mediaeval usage, adheres to a subject under the semblance of narrative suggesting similar characteristics. In all probability, Caxaro may not be referring to one single case but to a life-situation in general. The use of an allegory technically functions as a stimulation to further reflection; an openness to the mystery and riddle of life.

paragraph: Section::::Caxaro's philosophy.:Truth "vs." Appearance.

paragraph: This is an important theme in the "Cantilena", maybe carrying the greatest consequence for the whole composition. "“Fen tumayt insib il gebel sib tafal morchi”" (“Where I hoped to find rock I found soft clay”, v. 13{19}) gives us the hint.

paragraph: This may well be the key to the composition's enigma. We have here a juxtaposition of an apparent truth (a pseudo-truth) and the truth itself.

paragraph: In its most general terms this is a metaphysical problem. It marks human's encounter with a reality which is in itself concealed and garbed with the immediate consciousness and evidence of the sensible. Caxaro eventually contrasts the phenomenal to the noumenical reality, that is, the object of the senses, to which he was attracted in the first place, and the object of the intellect, which he discovered posteriorly. Caxaro's emphasis, however, and this is his proper characteristic in this sphere, is less on the intuitive function of humans and more on experiential undergoing. The senses are the media with which the real is arrived at.

paragraph: The theme is an echo of Plato's most fundamental problematic. Plato opposes appearance to the truth (reality), to which he identifies life. To the former he identifies existence. Appearance stops at the level of things which are not of any prime importance save as a vehicle of thought. A general superficiality in life at large is a result of constant and persisting shallowness in all aspects of humans’ being. The ability, on the other hand, to go to the heart of things, to the truth of reality, to life itself, would make this appearance ineffective.

paragraph: Section::::Caxaro's philosophy.:Metaphysics.

paragraph: Caxaro's ontological and epistemological philosophy, together with his psychology, commences with the concrete experience of defeat and impotency (see v. 11{15}). It is not a momentary despondency but rather a state of being. It is the consciousness of humans helplessly succumbing to a reality which overshadows them.

paragraph: From the reflection of this mode of existence determined by circumstances there arises in Caxaro the humanistic trigger to break out of the humiliating condition (diametrically opposed to the humanizing condition) by a rediscovery of the intrinsic spiritual power within humans themselves. "“Vargia ibnie”" (“and build it up again”, v. 11{15}) recalls Petrarca's call for rebirth; a reblooming out of the dust. This marks an essential moment in the rekindled faith and confidence in oneself to overcome helplessness and inertia.

paragraph: Action now takes the fore (see v. 12{16}). The place of the distorted vision of reality, of the illusory appearance which ruins human living, is to be taken by a fresh renewed conception and introspection. We have here the (spiritual) decision, founded on knowledge, to drastically and decidedly opt for a higher quality of life, namely by the choice of the truth, however troublesome, instead of pseudo-truth (that is, presumed being).

paragraph: Similarly, being a state of living, this is an option in favour of science, religion, the Church, the State, and the like. Over and above, it is an option in favour of individual personality. All of this is in opposition to pseudo-science, -religion, -Church, -State, and pseudo-personality.

paragraph: Thus humans are indeed vulnerable and susceptible to the riddle of existence (see vv. 13-14{17-18}). It is their sense of real ascertainment, their capability of applying their judging faculties with right measure (see vv. 15-16{19-20}), that gives them the right sense of direction.

paragraph: Section::::Caxaro's philosophy.:Logic.

paragraph: No minute examination of Caxaro's logic as presented in vv. 7-10{11-14}. Caxaro's formal logic seems to be characteristic of his times, showing a notable departure from the former scholastic logic. His syllogism is simple. It avoids complicated compounds. It is based on mental associations of necessary and contingent relationships.

paragraph: The first four propositions seem to form two pairs of conditional statements, called “consequential” by the mediaevalists, with true status for both the “antecedents” and the “consequents”. The remaining four follow from the former propositions and seem to be constructed on the first inferential schemata of traditional logic.

paragraph: Section::::Caxaro's philosophy.:Causation.

paragraph: Caxaro seems to have in mind notions other than the archaic Aristotelian concepts of cause. The whole of vv. 3-4 recall one of the motive forces which Empedocles called “Strife”, accounting for the dissolution or decay of the other force, “Love”, which is the principle of generation.

paragraph: Furthermore, Plato's own concept of cause seems to play an additional part. The forms, or formal causes, of things are proposed by Plato to give account for the changes in the world. It seems that Caxaro, especially in v. 3, touches upon this idea.

paragraph: In general, the mediaeval humanists consistently attempted to avow Aristotle's concepts whenever possible, including those of cause. However, his influence was never completely cancelled. Consequently, they tried to adhere to other theories of causation, especially those, as Caxaro's lines seem to demonstrate, which do not admit of any necessary consequence, if not with further qualifications.

paragraph: Section::::Caxaro's philosophy.:Communication.

paragraph: The triad at the head of the "Cantilena" is part of the general narrative theory of language. It rests on two legs, namely, Caxaro's examined life, a tenet proceeding from Socrates and Plato up to Petrarch, and further on the transmission of that experience.

paragraph: This is opposed to the teaching of an otherwise abstract theory, somewhat confirming a superiority of the subject of communication over the object of that communication. A narration of an undergone experience strictly speaking does not rest on the cognitive understanding of the addressee but on his affective capabilities, which to some degree are universal. In other words, it calls for sympathy of sentiments.

paragraph: Caxaro's narration, in which he takes a clear philosophical position, retracts from being an instruction, whether it moral or dogmatic. The narration qualifies as an announcement of the discovery of an all-important immaterial world, over and above mere semblances.

paragraph: Section::::Caxaro's philosophy.:Symbolism.

paragraph: In this context one can easily comprehend the nature of the language used by Caxaro: an expressive mode which, in accordance with his general philosophy, is intrinsically unconfined and porous. It is likewise based on a theory of correspondences.

paragraph: Caxaro does not seem to employ images in an unrelated (or extrinsically related) aloof manner. He does not merely appropriate their external form in some way. Caxaro aptly creates a harmony of nuances amongst the symbols he uses, taking advantage of their mutual agreeability. Moreover, he presents them in an analogous relationship with his world of being through the understanding of that world as an indissoluble unity.

paragraph: Caxaro's symbols, like those of the Megalithics in Malta and the posteriors Eleatics in Greece, are neither simple nor artificial. They do not point to the author's identification to the images "qua" images. Caxaro's peculiar material expression presupposes a prior cosmic spiritual relationship between all matter.

paragraph: This is a philosophy very proper to the mediaeval philosophers, especially those of the so-called Platonic school.

paragraph: Unfortunately, here we must sadly restrain myself from going into each and every symbolic implication of the "Cantilena". The qualities of the symbolism of the heart ("calb", v. 3), the well ("bir", v. 4), the steps ("…tiragin" and "tirag", vv. 4 and 5 respectively), the water ("bachar", v. 6), the house ("miramm{a}…", vv. 7{11}, 10{14} and 11{15}), the foundations ("sisen", v. 7{11}), the rock ("gebel", vv. 8{12} and 9{13}), the land ("miken", vv. 12{16} and 13{17}; "…rad…" and "ard", vv. 14{18} and 15{19}), and the colours ("bayda", white; "seude", black; "hamyra", red, v. 15{19}), are all proportional to other qualities in humans themselves, who are also part of a coherent, interconnected reality.

paragraph: Each symbol used by Caxaro is given a qualification, thus modifying their absoluteness. At the same time he recognises their contingent being in relation to humans themselves. The heart is qualified with "“mehandihe chakim soltan ui le mule”" (“ungoverned, kingless and lordless”, v. 3). The well with "“imgamic”" (“bottomless”, v. 4). The steps with "“mecsule”" and "“mizeli”" (“stop short” and “downfall” respectively, v. 4). The water with "“il hali”" (“stormy” or “deep”, v. 6). The house with "“lili zimen nibni”" (“I had long been building”, v. 10{14}).

paragraph: The rest of the symbolisms follow an indirect qualification. The foundations with "“tafal morchi”" (“soft clay”, v. 9{13}). The rock with "“kitatili”" (“gave way”, v. 8{12}). The land with "“vintura”" and "“sura”" (“fortune” and “difference”, vv. 13{17} and 14{18} respectively). The colours with "“ard”" (“land”) itself (v. 15{19}).

paragraph: Of course, the qualification are essential as the correspondences themselves, and also as much as the logical associations of vv. 7(11) to 10(12), where symbolism has a major role.

paragraph: Section::::See also.

paragraph: Philosophy in Malta

paragraph: Section::::Sources in chronological order.

paragraph: Section::::Further reading.

paragraph: BULLET::::- List of related academic journals

description: 15th century Maltese philosopher

wikidata_label: Pietru Caxaro

wikipedia_title: Pietru Caxaro


text: avant-garde

text: artist

text: mixed media

text: Argentina

text: New York City

text: shaped canvas

text: mixed media

text: Konex Foundation

text: Buenos Aires

text: Museo Rufino Tamayo

text: Mexico City

text: Mixed media

text: Shaped canvas

text: marcelobonevardi.com

categories: Artists from New York (state),20th-century American painters,American male painters,1929 births,Argentine emigrants to the United States,1994 deaths,Argentine artists

paragraph: Marcelo Bonevardi

paragraph: Marcelo Bonevardi (1929–1994) was a Latin American avant-garde artist known for his mixed media pieces. A native of Argentina, Bonevardi spent the greater part of his career in New York City, where he absorbed avant-garde practices and influences such as abstraction and primitivism, using them to invent a pictorial and symbolic language with which to express his deep spirituality and affinity for myth and ritual. Bonevardi is best known for his shaped canvases, often employing mixed media, which combine elements of painting and sculpture, reflecting his early training and lifelong interest in architecture. During his lifetime, Bonevardi received many honors, including the International Prize at the X Bienal de São Paulo, first prize in the "Ten Argentine Artists at the United Nations" permanent installation, and the Platinum Prize from the Konex Foundation.

paragraph: Bonevardi's work has been collected by many leading North American and Latin American museums, including the Museum of Modern Art and the Guggenheim Museum in New York City; the Museo Nacional de Bellas Artes and the Museo de Arte Moderno in Buenos Aires; the Museu de Arte Contemporânea da Universidade in São Paulo; and the Museo Rufino Tamayo in Mexico City.

paragraph: Section::::See also.

paragraph: BULLET::::- Mixed media

paragraph: BULLET::::- Shaped canvas

paragraph: Section::::References.

paragraph: BULLET::::- Bonevardi - Chasing Shadows, Constructing Art

paragraph: BULLET::::- "The Shadow Chaser" by Dore Ashton

paragraph: BULLET::::- "Constructing Magic" by Ronald Christ, Ed. John Bennett and Gustavo Bonevardi. University of Texas Press

paragraph: Section::::External links.

paragraph: BULLET::::- marcelobonevardi.com

paragraph: BULLET::::- Askart.com information on Marcelo Bonevardi

description: American artist

wikidata_label: Marcelo Bonevardi

wikipedia_title: Marcelo Bonevardi


text: Hesbaye

text: Brabant

text: Limburg

text: Belgium

text: feast day

text: Austrasia

text: Remaclus

text: Bishop of Liège

text: Acta Sanctorum

text: Chlodulph

text: Bishop of Metz

text: Theodard of Maastricht

text: Quintinus

text: Remigius

text: Sint-Truiden Abbey

text: Odeghem

text: Bruges

text: Gallia Christiana

text: Sint-Truiden

text: relics

text: Eucherius

text: Bishop of Orléans

text: Franco, Bishop of Liège

text: Normans

text: crypt

text: St Trond

text: San Trudone

categories: 698 deaths,Belgian Roman Catholic saints,Year of birth unknown,7th-century Frankish saints,Abbots of Sint-Truiden

paragraph: Trudo

paragraph: Saint Trudo (Tron, Trond, Trudon, Trutjen, Truyen) (died ca. 698) was a saint of the seventh century. He is called the "Apostle of Hesbaye" (partly in the provinces of Brabant and Limburg, Belgium). His feast day is celebrated on 23 November.

paragraph: He was the son of Blessed Adela of the family of the dukes of Austrasia . Devoted from his earliest youth to the service of God, Trudo came to St. Remaclus, Bishop of Liège ("Acta Sanctorum", I Sept., 678) and was sent by him to Chlodulph, Bishop of Metz. Here he received his education at the Church of St. Stephen, to which he always showed a strong affection and donated his later foundation. After his ordination he returned to his native district, preached the Gospel, and built a church at "Sarchinium", on the River Cicindria. It was blessed about 656 by Theodard of Maastricht, in honour of Sts. Quintinus and Remigius. Disciples gathered about him and in course of time a monastery developed, the later Sint-Truiden Abbey. The convent for women, established by him at Odeghem near Bruges, later also bore his name ("Gallia Christiana", Paris, 1887, V, 281) (see Sint-Truiden).

paragraph: Section::::Veneration.

paragraph: After death he was buried in the church erected by himself. A translation of his relics, together with those of St. Eucherius, Bishop of Orléans, who had died there in exile in 743, was made in 880 by Franco, Bishop of Liège. On account of the threatened inroads of the Normans the relics were later hidden in a subterranean crypt. After the great conflagration of 1085 they were lost, but again discovered in 1169, and on 11 August that year an official recognition and translation was made by Bishop Rudolph III. On account of these translations the dates 5 and 12 August, and 1 and 2 September, are noted in the martyrologies. The "Analecta Bollandiana" (V, 305) give an old office of the saint in verse.

paragraph: The life was written by Donatus, a deacon of Metz, at the order of his bishop, Angibram (769-91). It was rewritten by Theodoric, Abbot of St Trond (d. 1107).

paragraph: Section::::External links.

paragraph: BULLET::::- San Trudone

paragraph: BULLET::::- Saint Trudo on BALaT - Belgian Art Links and Tools (KIK-IRPA)

description: Belgian saint

wikidata_label: Trudo

wikipedia_title: Trudo


text:
Leningrad
Soviet Union
criminal songs
Ivanovo
Moscow
seven-string guitar
eidetic memory
Leningrad
S.M. Kirov Forestry Academy
Louis Armstrong
leave of absence
labour camps
Soviet army
Sergei Maklakov
non-conformism
dark culture
criminal world
cult figure
Russian culture
Northern Encyclopaedia
severnij.dp.ua

categories: Soviet male singers,1980 deaths,Seven-string guitarists,Saint Petersburg Forestry Institute alumni,Russian male singers,20th-century Russian singers,20th-century guitarists,1939 births

paragraph: Arkady Severny

paragraph: Arkady Severny (Zvezdin) (Аркадий Северный; Аркадий Дмитриевич Звездин) (March 12, 1939 - April 12, 1980) was a popular singer from Leningrad. He was very popular in the Soviet Union in the 1970s primarily because of his criminal songs. He sang more than 1,000 songs based on criminal folklore and literature. Severny worked with well-known Russian jazz and restaurant musicians. He recorded more than 80 albums, both solo and orchestral.

paragraph: Section::::Early life.

paragraph: Severny was born Arkady Dmitrievich Zvezdin in the town of Ivanovo, near Moscow. Contrary to popular belief, in his childhood years he was neither a hooligan nor a poor pupil. He belonged to the so-called "golden youth" with his father occupying a senior position in the Ivanovo railroad. The young Arkady did well at school, and loved to play the seven-string guitar. Owing to a near-eidetic memory, he could perform a large number of songs. His older sister once gave him a thick copybook filled with song lyrics, including numerous prison songs; he quickly learned this peculiar repertoire and eagerly sang such songs in polite company.

paragraph: After graduating from school in 1957, Arkady left for Leningrad, where he enrolled in the S.M. Kirov Forestry Academy, and participated in amateur musical and theatrical productions, including student ensembles that wrote and performed their own songs written in English in the style of Louis Armstrong. Having become completely engrossed in student amateur art, he did not study very diligently and after each term was on the verge of being expelled. Finally, he had to discontinue his studies for a while and took an academic leave of absence.

paragraph: Section::::First recordings.

paragraph: Once, in the company of friends, Arkady sang about a dozen songs, which he recorded on tape. In 1963, his first recordings, with a total recording time of 35–40 minutes, were released. Upon receiving his degree in 1965, he was given an administrative job at SoyuzEksportLes (Wood Export Union). Nevertheless, working in an office environment was of little interest to him; he wanted to sing. In the summer of 1967, Arkady became acquainted with one Rudolf Fuchs, a person who recorded singers and songwriters who played the guitar. Fuchs had the idea of producing the novice’s first album in the form of a refined hoax, specifically a non-existent radio program, which was allegedly broadcast on the Soviet airwaves. Severny performed prison songs on the radio at the request of the program’s listening audience. The fake radio program turned out to be a major success, due to the provocative nature of the songs that were allegedly performed on Soviet radio.

paragraph: The pseudonym "Severny" was adopted as a matter of style. In the 1960s, many of the Soviet Union's labour camps were located in the north of Russia. Severny being the Russian word for "northern", it fit Severny's carefully cultivated image as a prison singer perfectly. Secondly, the pseudonym served as a cover, since in those years one could actually be sent to prison for giving underground concerts.

paragraph: Section::::Popularity.

paragraph: In 1968, Arkady was discharged from the Soviet army, where he had served as lieutenant for a year in a helicopter regiment not far from Leningrad. Having demobilized, the singer learned that during the period of his mandatory service, his popularity as a singer had grown considerably. He then received an invitation from producer Sergei Maklakov. Arkady performed his songs throughout an entire evening at Maklakov’s residence, resulting in 500 meters of recordings on the now outdated reel-to-reel tape recorder that were quickly disseminated throughout the entire Soviet Union and eventually gave rise to the popularity of the performer’s prison songs. It was with great pleasure that music lovers all over the country listened to the singer’s slightly hoarse voice performing such revived songs as "Roast Chicken", "School of Ballet Dance", "I Lived in Noisy Odessa", "Mother, I’m In Love With A Pilot", "Tram #10 Passed By", and many others. During the recording, Severny would shout interjections such as "In Odessa-", "Back when I was in Odessa-", and others of the type, and mimicked the style of performance oft found in Odessa—again, part of his carefully cultivated image. Many of his listeners actually believed that he was from Odessa.

paragraph: Section::::Legacy.

paragraph: Severny managed to combine and concentrate practically the entire international lexicon of the "prison song" genre. Moreover, although it was understood that Severny himself performed as a character, and was not himself a criminal, the genre remained one of the most prominent in the 1970s and 1980s underground scene.

paragraph: It should also be noted that the official culture of the Soviet "stagnation" period not only had as its foil the light non-conformism coming from the direction of the intelligentsia, but also the dark culture of the criminal world. Because Severny was not recognized by the authorities as a singer, he became a cult figure in the Soviet Union, with the population clamoring to get recordings of his underground concerts. Russian criminal culture thus became an essential integral part of the greater Russian culture.

paragraph: Section::::External links.

paragraph: BULLET::::- Northern Encyclopaedia - Photos, songs in Mp3, art-projects about Arcady Severny, articles.

paragraph: BULLET::::- severnij.dp.ua - recordings

description: Russian musician

wikidata_label: Arkady Severny

wikipedia_title: Arkady Severny


text: Major League Baseball

text: outfielder

text: American football

text: touchdown

text: Dallas Christian High School

text: Mesquite, Texas

text: Texas A&M

text: baseball

text: Colorado Rockies

text: 1998 Major League Baseball draft

text: Baseball America

text: Carolina Mudcats

text: hit

text: home run

text: stolen base

text: Colorado Springs Sky Sox

text: RBI

text: San Francisco Giants

text: pinch hitter

text: hits

text: Los Angeles Dodgers

text: spring training

text: Las Vegas 51s

text: Minnesota Twins

text: Gold Glove

text: Torii Hunter

categories: Arizona League Rockies players,Colorado Springs Sky Sox players,Major League Baseball center fielders,Las Vegas 51s players,Living people,Salem Avalanche players,Asheville Tourists players,Sportspeople from Pine Bluff, Arkansas,Baseball players from Arkansas,1979 births,Colorado Rockies players,Carolina Mudcats players,African-American baseball players

paragraph: Choo Freeman

paragraph: Raphael Deseption "Choo" Freeman (born October 20, 1979) is a retired Major League Baseball outfielder.

paragraph: Section::::Career.

paragraph: Freeman played American football in high school, setting a state record by catching 50 touchdowns for Dallas Christian High School in Mesquite, Texas, and being selected three times to the all-state team. In his overall athletic career at Dallas Christian, he helped the school win six state championships in various sports and signed with Texas A&M to play football, but chose baseball when he selected by the Colorado Rockies in the first round of the 1998 Major League Baseball draft.

paragraph: Freeman spent four years making his way through various entry level Single-A minor league affiliates of the Rockies, even being selected as the Rockies top prospect by "Baseball America" in , before getting promoted to the Double-A Carolina Mudcats in . With Carolina, he hit .291 with 12 home runs and 15 stolen bases and was selected as a "Southern League" All-Star causing his stock to rise in the organization.

paragraph: In , he found himself starting in center field for the Colorado Springs Sky Sox, the Rockies Triple-A affiliate, a position he would retain for most of the next couple of seasons. His best season with the Sky Sox was in where he hit .297 with 10 home runs and 50 RBI.

paragraph: He made his major league debut with the Rockies on June 4, 2004, against the San Francisco Giants as a pinch hitter. He got his first two major league hits the next day in his first start for the Rockies, also against the Giants. However, he hit only .189 that season and wound up back with the Sky Sox in .

paragraph: After hitting .280 with the Sky Sox in 2005, Freeman rejoined the Rockies for limited action in September before making the team full-time for the season as a reserve outfielder. He hit .237 in the 88 games he played in during the 2006 season.

paragraph: On February 2, 2007, Freeman was released by the Rockies.

paragraph: On February 14, 2007, he signed a minor league contract with the Los Angeles Dodgers, but he failed to make the major league roster out of spring training and was reassigned to the Dodgers Triple-A affiliate, the Las Vegas 51s. He hit .270 in 121 games with the 51s and knocked in 48 runs becoming a free agent after the season ended.

paragraph: Section::::Personal life.

paragraph: Freeman is a cousin of Minnesota Twins Gold Glove right fielder Torii Hunter. He married Jamie Freeman in 2010. They have 1 son Jalen. In 2008 the couple had a daughter name Zailey.

paragraph: Section::::External links.

paragraph: BULLET::::- (Freeman) chooses baseball over A&M – Baseball America article

description: American baseball player

wikidata_label: Choo Freeman

wikipedia_title: Choo Freeman


text: Waldenburg, Saxony

text: Jamaica Plain, Massachusetts

text: German-American

text: botanical

text: taxonomist

text: dendrologist

text: Arnold Arboretum

text: Harvard University

text: Schönburg-Waldenburg

text: Henry, Duke of Anhalt-Köthen

text: gymnasium

text: Zwickau

text: Berlin Botanical Garden

text: Paul Friedrich August Ascherson

text: August Wilhelm Eichler

text: Frankfurt am Main

text: Muskau Park

text: Darmstadt Botanical Garden

text: Göttingen Botanical Garden

text: Brocken Garden

text: Harz

text: Albert Peter

text: Erfurt

text: phylloxera

text: Charles Sprague Sargent

text: Liberty Hyde Bailey

text: Cornell University

text: Bureau of Investigation

text: Ernest Henry Wilson

text: China

text: isothermic zones

text: United States

text: hardiness

text: Wladimir Köppen

text: USDA

text: Hardiness zone

text: master of arts

text: American Academy of Arts and Sciences

text: speech impediment

text: genera

text: Rehdera

text: Rehderodendron

text: Rehderophoenix

text: Ernest Henry Wilson

text: "Professor Alfred Rehder’s Retirement"

text: Obituary

text: "Remembering Alfred Rehder"

text: "Alfred Rehder: His German Roots".

categories: Botanists active in North America,19th-century German botanists,Arnold Arboretum,20th-century American botanists,1949 deaths,Dendrologists,German gardeners,German horticulturists,German botanists,19th-century American botanists,1863 births,Harvard University faculty,People from Waldenburg, Saxony,American horticulturists

paragraph: Alfred Rehder

paragraph: Alfred Rehder (4 September 1863 in Waldenburg, Saxony – 25 July 1949 in Jamaica Plain, Massachusetts) was a German-American botanical taxonomist and dendrologist who worked at the Arnold Arboretum of Harvard University. He is generally regarded as the foremost dendrologist of his generation.

paragraph: Section::::Life.

paragraph: Georg Alfred Rehder was born in the castle of Waldenburg to Thekla née Schmidt (1839–1897) and Paul Julius Rehder (1833–1917), the superintendent of parks and gardens of the principality of Schönburg-Waldenburg. Through his father, Rehder was introduced to the gardening profession. On his mother's side of the family, Rehder was likely descended from Henry, Duke of Anhalt-Köthen (1778–1847).

paragraph: Rehder broke off his attendance at the gymnasium in Zwickau in 1881 and did not pursue university studies, instead working for three years as an apprentice under the tutelage of his father. His professional career began in 1884 at the Berlin Botanical Garden. Here he was able to attend lectures by Paul Friedrich August Ascherson and August Wilhelm Eichler, among others. In 1886, he went to work for a florist in Frankfurt am Main, and half a year later he moved to the Muskau Park. Here he first met the daughter of the local parks superintendent, Anneliese Hedwig Schrefeld (1875–1967), whom he would marry in 1906.

paragraph: In 1888, Rehder accepted an appointment as head gardener at the Darmstadt Botanical Garden. He moved next to the Göttingen Botanical Garden, where he was head gardener from 1889 to 1895. During this time, he was involved in the creation of the Brocken Garden for Alpine plants on the highest mountain of the Harz range, initiated by Albert Peter in 1890. In addition, he became a contributing editor of several professional periodicals. In 1895, he was appointed associate editor of "Möller's Deutsche Gärtner-Zeitung" (published in Erfurt), Germany's premier horticultural journal, for which he wrote numerous articles.

paragraph: In 1898, he was assigned by the "Deutsche Gärtner-Zeitung" to travel to the United States and study woody plants and orchards. The German government also asked him to research American grape species, known to be resistant to the grape phylloxera that were threatening to infest German vineyards and destroy the wine industry. He undertook research at the Arnold Arboretum, and here he came to the attention of the director, Charles Sprague Sargent, who quickly recognized Rehder's abilities and persuaded him to stay at the arboretum and work on the comprehensive study of woody plants eventually published as "The Bradley Bibliography" (5 vols., 1911–18). At about this time, he was also introduced to Liberty Hyde Bailey of Cornell University, who asked him to prepare the text on woody genera for the "Cyclopedia of American Horticulture" (4 vols., 1900–02).

paragraph: Rehder was naturalized as an American citizen in 1904, but he maintained his ties with Germany. During World War I, he was subject to surveillance by the Bureau of Investigation.

paragraph: Collaborating closely with Charles Sprague Sargent, Rehder launched the "Journal of the Arnold Arboretum", which appeared as a quarterly from 1919 to 1990. The journal had a particular focus on dendrology but also covered other botanical fields. He was instrumental in systematizing the thousands of plants collected by Ernest Henry Wilson in China.

paragraph: Rehder created the first system of isothermic zones for the United States that related average winter minimum temperatures to the hardiness of specific plants. The system, along with another developed by Wladimir Köppen, is the basis for the USDA Hardiness zone maps in use today.

paragraph: In 1913, Harvard conferred upon him an honorary master of arts degree. In 1914, he was inducted into the American Academy of Arts and Sciences. From 1918 to 1940, he served as the herbarium curator of the Arnold Arboretum. In 1934, he was appointed to an associate professorship in dendrology at Harvard University. This position was extraordinary not just because Rehder had never enrolled at a university, but also because he never taught a course due to a speech impediment.

paragraph: More than 60 plant taxa have been named in honor of Rehder, and the genera "Rehdera", "Rehderodendron", and "Rehderophoenix" were named after him.

paragraph: Section::::Works.

paragraph: Rehder's œuvre comprises about 1,000 publications. His most well-known work is the "Manual of Cultivated Trees and Shrubs, Hardy in North America" (1927), which became a virtual "bible of the dendrologist". His most comprehensive work, however, is the "Bibliography of Cultivated Trees and Shrubs Hardy in Cooler Temperate Regions of the Northern Hemisphere" (1949), truly a mammoth work that brings together 150,000 individual data compiled over decades.

paragraph: Rehder also produced "The Bradley Bibliography: A Guide to the Literature of the Woody Plants of the World Published Before the Beginning of the Twentieth Century" (5 vols., 1911–18). He was co-author, with Ernest Henry Wilson, of "Plantae Wilsonianae: An Enumeration of the Woody Plants Collected in Western China for the Arnold Arboretum of Harvard University During the Years 1907, 1908, and 1910" (3 vols., 1913, 1916–17) and "A Monograph of Azaleas:" Rhododendron "subgenus" Anthodendron (1921). Finally, he authored "Synopsis of the Genus" Lonicera (1903).

paragraph: Section::::External links.

paragraph: BULLET::::- Gärtnerisch-Botanischer Brief 1999/4, no. 137, contains a biography (pdf-file; 125 kB)

paragraph: BULLET::::- Historical Biographies: Alfred Rehder (1863–1949), Archives of the Arnold Arboretum of Harvard University.

paragraph: BULLET::::- "Professor Alfred Rehder’s Retirement", "Arnold Arboretum Bulletin of Popular Information" No. 11 (October 25, 1940): 57–58

paragraph: BULLET::::- Obituary by Clarence E. Kobuski, "Journal of the Arnold Arboretum", Vol. XXXI, January 1950.

paragraph: BULLET::::- "Archives of the Arnold Arboretum" II A–Z Alfred Rehder (1863–1949) papers, 1898–1949: Guide (with detailed Biography) with photographs

paragraph: BULLET::::- "Remembering Alfred Rehder" by Lisa Pearson, head of the Library and Archives at Arnold Arboretum, 7 pp.

paragraph: BULLET::::- Arnd Rüdiger Grimmer, "Alfred Rehder: His German Roots".

description: German-American professor of botany

wikidata_label: Alfred Rehder

wikipedia_title: Alfred Rehder


text: professional baseball

text: infielder

text: Major League Baseball

text: Darryl Strawberry

text: Ricky Ledée

text: New York Yankees

text: New York Mets

text: Los Angeles Dodgers

text: San Francisco Giants

text: 2000 World Series

text: Chicago Cubs

text: at-bat

text: National League

text: singles

text: sacrifice flies

text: New York Mets

text: Anthony Young

text: Cleveland Indians

text: Jeff Kent

text: Carlos Baerga

text: Alvaro Espinoza

text: 1996 American League Division Series

text: Baltimore Orioles

text: run batted in

text: San Francisco Giants

text: Jeff Kent

text: Florida Marlins

text: New York Yankees

text: Jim Leyritz

text: American League Division Series

text: American League Championship Series

text: Seattle Mariners

text: 2000 World Series

text: New York Mets

text: World Series ring

text: National League Division Series

text: Atlanta Braves

text: Adam Everett

text: 2005 National League Division Series

text: St. Louis Cardinals

text: 2005 World Series

text: 2005 World Series

text: Scott Podsednik

text: San Francisco Giants

text: Brian Burres

text: David Eckstein

text: Los Angeles Dodgers

text: college baseball

text: Santa Clara University

text: San Francisco Giants

text: 2015 MLB Draft

categories: Cleveland Indians players,Houston Astros players,Los Angeles Dodgers scouts,Major League Baseball infielders,New York Mets players,Major League Baseball shortstops,New Orleans Zephyrs players,New York Yankees players,Gulf Coast Dodgers players,Los Angeles Dodgers players,St. Louis Cardinals players,Albuquerque Dukes players,Major League Baseball players from the Dominican Republic,Chicago Cubs players,Dominican Republic people of African descent,1968 births,Living people,Bakersfield Dodgers players,Dominican Republic expatriate baseball players in the United States

paragraph: José Vizcaíno

paragraph: José Luis Vizcaíno Pimental (born March 26, 1968) is a Dominican former professional baseball player. He was a backup infielder for most of his Major League Baseball (MLB) career. He, along with Darryl Strawberry, and Ricky Ledée are the only Major League Baseball players to have played for all four (former and current) New York teams—the New York Yankees, the New York Mets, the Los Angeles Dodgers, and the San Francisco Giants. With the Yankees, he won the 2000 World Series against the Mets.

paragraph: Section::::Early career.

paragraph: Section::::Early career.:Los Angeles Dodgers (1989–1990).

paragraph: Vizcaíno made his debut with the Dodgers as a late-season call-up in 1989, where he played five games at shortstop for them to conclude the season. In 1990, he was again called up late, playing in 37 games and where he hit a respectable .275. Despite his play, he was traded to the Chicago Cubs on December 14, 1990.

paragraph: Section::::Early career.:Chicago Cubs (1991–1993).

paragraph: In Chicago, Vizcaíno saw his playing time increase, appearing in no less than 86 games in any given season, including a career-high 151 games in 1992. In 1993, he played a significant role, having 551 at-bats and being 9th in the National League with 131 singles as well as second in the NL with 9 sacrifice flies.

paragraph: Section::::Early career.:New York Mets (1994–1996).

paragraph: The Cubs traded Vizcaíno to the New York Mets on March 30, 1994, for Anthony Young and minor-leaguer Ottis Smith. In 1994, Vizcaíno, now a starter for the first time in his career, collected 105 hits before the strike shortened the season. When play resumed in 1995, Vizcaíno responded with his best season to that point, collecting 146 hits, including a career-high 21 doubles and 56 runs batted in, although his strikeouts increased slightly to 76. He finished fifth in the National League in hits that year. In 1996, Vizcaíno played in 96 games for the Mets, hitting .303 (a career-high) with 32 runs batted in. On July 29, 1996, Vizcaíno was traded to the Cleveland Indians along with Jeff Kent for Carlos Baerga and Alvaro Espinoza.

paragraph: Section::::Early career.:Cleveland Indians (1996).

paragraph: In Cleveland, Vizcaíno appeared in 48 games to complete the 1996 season, and made his first career trip to the postseason. In the 1996 American League Division Series against the Baltimore Orioles, Vizcaíno collected four hits (including two doubles) and one run batted in. Despite these contributions, the Indians were defeated by the Orioles. On November 13, 1996, he was traded to the San Francisco Giants along with Matt Williams and a player to be named later (Joe Roa) and Trent Hubbard along with Jeff Kent and Julián Tavárez.

paragraph: Section::::Early career.:San Francisco Giants (1997).

paragraph: With the Giants, he appeared in 151 games hitting .266 with a career-high 50 runs batted in, along with a career-high 87 strikeouts while again returning to the postseason and finished tenth in the National League in hits. In the postseason, Vizcaíno collected two hits and one run while striking out five times as the Giants were defeated by the Florida Marlins. On October 29, 1997, he was granted free agency.

paragraph: Section::::Early career.:Return to the Dodgers (1998–2000).

paragraph: On December 8, 1997, Vizcaíno re-signed with the Los Angeles Dodgers. He appeared in a career-low 67 games in 1998 hitting .262 with 29 runs batted in. In 1999, Vizcaíno played in 94 games collecting 29 runs batted in.

paragraph: Vizcaíno began the 2000 season with the Dodgers, hitting a dismal .204 over 40 games (collecting only 19 hits). On June 20, he was traded to the New York Yankees with cash for Jim Leyritz.

paragraph: Section::::Early career.:New York Yankees (2000).

paragraph: Vizcaíno appeared in 73 games for the Yankees, hitting .276 with 10 runs batted in, earning a spot on the Yankees postseason roster. In the American League Division Series, he scored one run as a pinch-runner. In the American League Championship Series, he played in four games collecting two hits, three runs, and 2 runs batted in (along with two stolen bases) as the Yankees defeated the Seattle Mariners. Vizcaíno played in four of the five games in the 2000 World Series against the New York Mets. He is most known for his dramatic hit on October 21, 2000, in Game 1. In the bottom of the 12th inning of the then longest game in World Series history, Vizcaíno hit the game-winning RBI single. He earned a World Series ring when the Yankees defeated the Mets in five games. On November 1, he was granted free agency.

paragraph: Section::::Early career.:Houston Astros (2001–2005).

paragraph: Vizcaíno signed with the Astros on November 20. In 2001, he hit .277 with 71 hits and 14 runs batted in. He appeared in three games in the 2001 National League Division Series, he was 1 for 6 as Houston was defeated by the Atlanta Braves. In 2002, he hit .303 with five home runs and 37 runs batted in 125 games. In 2003, Vizcaíno appeared in only 91 games, where he collected 26 runs batted in. In 2004, Vizcaíno rebounded, hitting .274 and playing in 138 games at shortstop while Adam Everett was out with a broken wrist. In the 2005 National League Division Series, Vizcaíno went 0-for-5 in two games. Despite his lack of productivity, the Astros defeated the Braves in 5 games. In the 2005 National League Championship Series against the St. Louis Cardinals, Vizcaíno did not fare better, again going hitless. In the 2005 World Series, Vizcaíno collected one hit, one walk, and two runs batted in. In Game 2 of the 2005 World Series, he came close to repeating his 2000 World Series walk-off moment when he hit a two-run single with two outs in the ninth inning to tie the game. Following his game tying hit for the Houston Astros, Vizcaíno stayed in the game at shortstop for the bottom of the ninth, and on the way out to his position, he realized he had forgotten his cap and had to return to the dugout to get it. After the game Vizcaíno commented "It was crazy, I ran out there without [a cap], and when I realized it, I felt funny. More camera time for me, I guess." The Astros went on to lose when Scott Podsednik homered in the bottom of the inning and overshadowed Vizcaíno's heroics. In Game 3 of that year's Series, Vizcaíno played the entire game, which broke the record for the longest game in World Series history on October 25, 2005.

paragraph: Section::::Early career.:Return to the Giants (2006).

paragraph: Vizcaíno was not offered arbitration following the 2005 season from Houston. Instead, he signed a one-year contract with the San Francisco Giants, who designated pitcher Brian Burres for assignment to make room for him on the roster. On August 14, Vizcaíno was designated for assignment by the Giants after hitting just .210 over 64 games.

paragraph: Section::::Early career.:St. Louis Cardinals (2006).

paragraph: On August 23, 2006, Vizcaíno was signed to a contract by the Cardinals and spent the rest of the 2006 season as a replacement for injured shortstop David Eckstein.

paragraph: Section::::Post-playing career.

paragraph: Vizcaíno currently works in the front office of the Los Angeles Dodgers as a Special Assistant of Baseball Operations, a position he has held since the beginning of the 2008 season.

paragraph: Section::::Personal life.

paragraph: Vizcaíno's son, José Jr., played college baseball for Santa Clara University and was drafted by the San Francisco Giants in the 7th round of the 2015 MLB Draft.

description: baseball player

wikidata_label: José Vizcaíno

wikipedia_title: José Vizcaíno


text: Geoffroi de Charney

text: chivalry

text: Lirey

text: Burgundy

text: Jean de Joinville

text: King Louis IX

text: King Jean II

text: Order of the Star

text: Jean II of France

text: Order of the Garter

text: Edward III of England

text: Oriflamme

text: Hainault

text: Flanders

text: crusade

text: Humbert II of Viennois

text: Smyrna

text: Froissart

text: Scotland

text: Middle English

text: Morlaix

text: Brittany

text: Goodrich Castle

text: Richard Talbot, 2nd Baron Talbot

text: Aimery of Pavia

text: Calais

text: St. Omer

text: John Chandos

text: Battle of Poitiers

text: Crecy

text: Gascons

text: Ian Wilson

text: Vergy

text: Turin Shroud

text: Book of Chivalry

text: Ramon Llull

text: Chretien de Troyes

text: Richard W. Kaeuper

text: Elspeth Kennedy

text: The Chivalry Bookshelf

text: The French knight Geoffrey de Charny

text: The mystery of the Templar Mandylion

categories: 1300 births,1356 deaths,14th-century French people,French military personnel killed in action

paragraph: Geoffroi de Charny

paragraph: "This article is about the French knight who died in 1356 at the Battle of Poitiers. For the Knight Templar of similar name who may or may not have been his uncle, and who was burned at the stake in 1314, see Geoffroi de Charney."

paragraph: Geoffroi de Charny (c. 1300 – 19 September 1356) was a French knight and author of at least three works on chivalry. He was born around 1300. His father, Jean de Charny was the Lord of Lirey in Burgundy and his mother was Margaret de Joinville. His grandfather on his mother's side, Jean de Joinville, was a close friend of King Louis IX and author of his biography. Geoffroi was a knight in the service of King Jean II of France and a founding member of the Order of the Star, an order of chivalry founded on 6 November 1351 by Jean II of France similar to the Order of the Garter (1347) by Edward III of England. He was also the carrier of the Oriflamme, the standard of the crown of France, an immensely privileged, not to mention dangerous, honour, as it made the holder a key target of enemy forces on the battlefield. Geoffroi de Charny was one of Europe's most admired knights during his lifetime, with a widespread reputation for his skill at arms and his honour. It was said that in his time he was known as a "true and perfect Knight".

paragraph: Section::::Military career.

paragraph: Geoffroi de Charny fought at Hainault and in Flanders, and participated in a crusade under Humbert II of Viennois in the late 1340s. Humbert was a terrible soldier and leader (1) and the crusaders signed a treaty with the Turks in 1348, despite the capture of Smyrna under a previous commander.

paragraph: We know from the Chronicles of Froissart that de Charny traveled to Scotland by order of the French King on at least two occasions and was well known to the Scottish nobles of the time. The chronicle describes the French Knight's visit and de Charny briefly in this passage written in Middle English: ".. "Mctray Duglas and the erle Morette knewe of their comynge, they wente to the havyn and mette with them, and receyved them swetely, sayeng howe they were right welcome into that countrey. And the barons of Scotlande knewe ryght well sir Geffray de Chamey, for he had been the somer before two monethes in their company: sir Greffray acquaynted them with the admyrall, and the other knyghtes of France"."

paragraph: It is recorded and recently translated that Geoffroi was taken prisoner on two occasions. Once was at the battle of Morlaix. It is further recorded that in 1342 Geoffroi was taken prisoner in Brittany, then taken to Goodrich Castle in England, where his captor was Richard Talbot, 2nd Baron Talbot. An English letters patent of October 1343 describes him as having 'gone to France to find the money for his ransom'. It was a rare occurrence that a man would be thus trusted and since he went on to fight other battles, someone apparently paid Geoffroi's ransom, and he was knighted the very next year.

paragraph: Another incident which provides insight into Geoffroi's mind is the retribution exacted upon Lombardy-born Aimery of Pavia, the man who betrayed him in his attempted recapture of Calais on New Year's Eve, 1349. Geoffroi conducted a dangerous raid on Aimery's castle. Geoffroi took Aimery captive to St. Omer, decapitated him, quartered his body, and displayed it on the town gates. As Professor Kaeuper adds: 'To show that all this was a private matter and not a part of the business of war (there was currently a truce), Charny took possession only of Aimery himself, not his castle.'

paragraph: Section::::Negotiations prior to the Battle of Poitiers.

paragraph: Shortly before his death, Sir Geoffroi's dire predictions proved to be truly prophetic and his recorded words exemplify what only a "true and perfect" medieval knight might be expected to say. They are recorded in the writings of the life of Sir John Chandos and were made in the final moments of a meeting of both sides in an effort to avoid the bloody conflict at Poitiers during The Hundred Years' War. The extraordinary narrative occurred just before that battle and reads as follows:

paragraph: Section::::Death.

paragraph: Sir Geoffroi de Charny was killed at the Battle of Poitiers in 1356, a great defeat for the French in which the French king was taken prisoner to England. The French nobility lost here as well as at Crecy, thus their most capable were almost completely wiped out. Froissart’s words vividly (but inaccurately) describe Geoffroi’s last actions, his bravery to his King and Country and his dedication to the Oriflamme at the Battle of Poitiers on September 19, 1356: “There Sir Geoffroi de Charny fought gallantly near the king (note: and his fourteen-year-old son). The whole press and cry of battle were upon him because he was carrying the king’s sovereign banner, the Oriflamme. Geoffroi also had before him his own banner, gules, three escutcheons argent. So many English and Gascons came around him from all sides that they cracked open the king’s battle formation and smashed it; there were so many English and Gascons that at least five of these men at arms attacked one [French] gentleman. Sir Geoffroi de Charny was killed with the banner of France in his hand, as other French banners fell to earth.”

paragraph: Section::::Brass Effigy.

paragraph: The Brass Effigy is of the son, French Knight Geoffroi de Charny II. It is presented for historical reference only since there are no known images of the father. It is said to be an authentic likeness to the father as well and the son. The Effigy translation was generously provided by author Ian Wilson. It states as follows: "‘Here lies the noble man Monsieur Geoffroy de Charny at one time seigneur of Thory, in the district of Beauvais, who died the 22nd day of the month of May 1398". "Pray God for his soul.’".

paragraph: The Effigy is frequently represented elsewhere as being of the father but the translation clearly shows it is of Geoffroi II, the son.

paragraph: Section::::Shroud of Turin.

paragraph: Geoffroi de Charny and his wife Jeanne de Vergy are the first reliably recorded owners of the Turin Shroud. The first public exhibition of the Shroud is memorialized in The Pilgrimage Medal shown here and dating from that time. The medal shows the image of the Shroud with very precise indications in spite of its small dimensions. On this medal one can see a frontal and dorsal view of the body, the linen herring patterns, four marks of burns as well as the coats of arms of the Charny and Vergy families. This pilgrimage medal is exhibited at the Cluny museum in Paris (France).

paragraph: Section::::Literary works.

paragraph: Geoffroi de Charny's most famous work is his 'Book of Chivalry', written around 1350, which is, along with the works of Ramon Llull and Chretien de Troyes one of the best sources to understand how knights themselves described and prioritised chivalric values in the 14th century. Geoffroi discusses many subjects but above all he values skill at arms over all other knightly virtues and war over all other forms of contest at arms.

paragraph: He was also the author of 'Demands pour la joute, les tournois, et la guerre', in English, 'Questions for the joust, tournaments and war', a book on knightly pursuits. Only the questions survive; however, the way that the questions are phrased, as well as Geoffroi's actions in his lifetime, allow scholars to reach further conclusions about Geoffroi's conception of chivalry and war.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Richard W. Kaeuper & Elspeth Kennedy, "The Book of Chivalry of Geoffroi de Charny: Text, Context, and Translation". Middle Ages Series. (Philadelphia: Pennsylvania U.P, 1996).Includes the Middle French text, an English translation, and editorial commentary.

paragraph: BULLET::::- Richard W. Kaeuper & Elspeth Kennedy, "A Knight's Own Book: Chivalry of Geoffroi de Charny". (Philadelphia: Pennsylvania U.P., 2005). A shorter version of the above, including an English translation and editorial commentary.

paragraph: BULLET::::- Steven Muhlberger, "Jousts and Tournaments: Charny and chivalric sport in fourteenth-century France", Union City, Calif: The Chivalry Bookshelf, 2003.

paragraph: BULLET::::- Steven Muhlberger, "Charny's Men-at-Arms: Questions Concerning, the Joust, Tournaments and War". Wheaton: Freelance Academy Press, 2014.

paragraph: BULLET::::- Froissart's Chronicles (various editions).

paragraph: Section::::External links.

paragraph: BULLET::::- The French knight Geoffrey de Charny

paragraph: BULLET::::- Historical and Scientific Study of the Shroud of Turin and the public exhibition of the Shroud in Lirey, electronic publication for PC.

paragraph: BULLET::::- The mystery of the Templar Mandylion

paragraph: BULLET::::- http://www.nipissingu.ca/department/history/MUHLBERGER/2006/05/geoffroi-de-charny-speaks_10.htm

description: knight, author

wikidata_label: Geoffroi de Charny

wikipedia_title: Geoffroi de Charny


text:
drummer
Sigur Rós
album
Ágætis byrjun
Ágúst Ævar Gunnarsson
Sigur Rós
( )
Takk...
Með suð í eyrum við spilum endalaust
Valtari
Kveikur
Hvarf/Heim
Dýri Guðmundsson
Icelandic national team
( )
María Lilja Þrastardóttir

categories: Icelandic musicians,Alternative rock drummers,Rock drummers,21st-century drummers,Sigur Rós members,1977 births,Living people

paragraph: Orri Páll Dýrason

paragraph: Orri Páll Dýrason (; born on 4 July 1977) is an Icelandic musician. He was previously the drummer for Sigur Rós. He joined the band in 1999, shortly after the recording of the studio album "Ágætis byrjun", when the previous drummer, Ágúst Ævar Gunnarsson, left the band.

paragraph: Orri has recorded five studio albums with Sigur Rós: "( )" (2002), "Takk..." (2005), "Með suð í eyrum við spilum endalaust" (2008), "Valtari" (2012), and "Kveikur" (2013). He also contributed to "Hvarf/Heim" (2007), where "Hvarf" contains studio recordings of previously unreleased songs.

paragraph: Section::::Personal life.

paragraph: Orri's father is the former footballer Dýri Guðmundsson, who made five appearances for the Icelandic national team.

paragraph: Orri has a daughter, Vaka, for whom the first track from the "( )" album is named. and two sons, Dýri Angantýr (born January 2010), and Jón Stormur (born November 2012). He's also the stepfather to his fiancé's daughter, Kría (born July 2008).

paragraph: He is married to María Lilja Þrastardóttir, a journalist and a feminist activist from Iceland. They are currently living in London.

paragraph: In September 2018, he was accused of sexual assault by a fan on Instagram. Orri published a post on Facebook where he claims his innocence but "in light of the scale of this matter" he chose to step down from band whilst attempting to clear his name.

description: Icelandic drummer and musician

wikidata_label: Orri Páll Dýrason

wikipedia_title: Orri Páll Dýrason


text:
Luleå
Visby
Otte Skölds målarskola
Ecole des Beaux Arts
Royal Swedish Academy of Arts
Garnisonen, Stockholm
Elis Eriksson
Hallonbergen metro station

categories: Swedish male artists,2017 deaths,1928 births,People from Luleå

paragraph: Gösta Wallmark

paragraph: Per Gustav Gösta Hjalmar Wallmark is a Swedish artist. He was born in June 11, 1928, in Luleå, Sweden and died in Visby on November 20, 2017.

paragraph: Gösta Wallmark got his education from Otte Skölds målarskola in Stockholm, Ecole des Beaux Arts in Paris and at Royal Swedish Academy of Arts.

paragraph: He created a wall relief at Garnisonen, Stockholm in 1972.

paragraph: Together with Elis Eriksson he was responsible for the artistic decoration of Hallonbergen metro station in Stockholm which opened 31 August 1975.

description: Swedish artist

wikidata_label: Gösta Wallmark

wikipedia_title: Gösta Wallmark