Archiv der Kategorie 'Bundesgrenz-Terfort-Stiefcap|92'

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Bel
… still support Duncan 1866.-cos nos.-

FELLOW CRAFT, OR SECOND DEGREE.

I SHALL omit the ceremonies incident to opening a Lodge of Fellow Crafts, as they are very similar to those employed in opening the First Degree, and will be explained hereafter more
COMPASSES PLACED IN A LODGE OF FELLOW CRAFT MASONS, ‚‘ONE POINT ELEVATED ABOVE THE SQUARE.'‘ (See Note B.)
COMPASSES PLACED IN A LODGE OF FELLOW CRAFT MASONS, ‚‘ONE POINT ELEVATED ABOVE THE SQUARE.'‘ (See Note B.)
clearly to the reader. Five are required by Masonic law to make a legal Lodge of Fellow Crafts, viz.: Worshipful Master, Senior and Junior Wardens, Senior and .Junior Deacons; yet seven, besides the Tyler, generally officiate, and take their seats as in the Entered Apprentice Degree. (See Plate, page 8.)

When the Lodge is opened on the Fellow Craft Degree, the altar is arranged as represented in the accompanying engraving.

We will suppose the Lodge to be opened on the Fellow Craft Degree, and Mr. Gabe, who has previously taken the degree of Entered Apprentice, and been elected to that of Fellow Craft, is in the ante-room in waiting. The Master, being aware of this fact, will say:

p. 59

W. M.--Brother Junior Deacon, you will take with you the necessary assistance and repair to the ante-room, where there is a candidate in waiting for the second degree in Masonry; and when you have him prepared, make it known by the usual sign.

The Junior Deacon, with the two Stewards accompanying him, steps to the centre of the Lodge, makes the duegard and sign of a Fellow Craft, and passes out of the Lodge into the ante-room. (For duegard and sign see Figs. 3 and 4, page 17.)

J. D.--Well, Brother Gabe, you will have to be prepared for this Degree as all have been before you. You, of course, can have no serious objection?

Brother Gabe.--I have not.

J. D.--Then you will take off your boots, coat, pants, vest-necktie, and collar; and here is a pair of drawers, unless you have a pair of your own. Now you will slip
your right arm out of your shirtsleeve, and put it through the bosom of your shirt, that your right arm and breast may he naked.

The Deacon here ties a hoodwink, or hand-kerchief, over both eyes. (In the time of Morgan, it was the usage to cover only one eye.) The Junior Deacon then ties a rope, by Masons called a cable-tow, twice around his arm. (Formerly, the rope was put twice round the candidate’s neck.) Some Lodges follow the old custom now, but this is rather a rare thing. The reader will, however, do well to recollect these hints, as they are particular points.

The right foot and knee of the candidate are made bare by rolling up the drawers, and a slipper should be put on his left foot. This being accomplished, the candidate is duly and truly prepared. (See engraving.)

The Deacon now takes the candidate by the arm, and leads him forward to the door of the Lodge; and upon arriving there he gives three raps, when the Senior Deacon, who has taken his station on the inside door of the Lodge, reports to the Master as follows:

S. D.--Worshipful Master (making the sign of a Fellow Craft), there is an alarm at the inner door of our Lodge.

W. M.--You will attend to the alarm, and ascertain the cause.

p. 60

The Deacon gives three raps, which are responded to by the Junior Deacon, and answered to by one rap from the Senior Deacon inside, who opens the door, and says:

S. D.--Who comes here?

J. D. (conductor.)--Brother Gabe, who has been regularly initiated as Entered Apprentice, and now wishes to receive more light in Masonry by being passed to the degree of Fellow Craft.

S. D. (turning to candidate.)--Brother Gabe, is it of your own free-will and accord?

Candidate--It is.

S. D.--Brother Junior Deacon, is he duly and truly prepared, worthy and well qualified?

J. D.--He is.

S. D.--Has he made suitable proficiency in the preceding degree?

J. D.--He has.

S. D.--And properly vouched for?

J. D.--He is.

S. D.--Who vouches for him?

J. D--A brother.

S. D.--By what further right, or benefit, does he expect to gain admission?

J. D.--By the benefit of a pass.

S. D.--Has he that pass?

J. D.--He has it not, but I have it for him.

S. D.--Advance, and give me the pass. (Some say, advance the pass.)

Junior Deacon whispers in the Senior Deacon’s ear the pass-word, „Shibboleth.“

S. D.--The pass is right. You will wait with patience until the Worshipful Master is informed of your request, and his answer returned.

The Senior Deacon then closes the door, and repairs to the centre of the Lodge, before the Worshipful Master in the east, and sounds his rod twice on the floor, which is responded to by the Master with his gavel, when the same interrogations and answers are repeated by the Master and Deacon as at the door. The Master then says:


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Bowie u² Chinese ‚Wunder|n|mallah jr.“²³W. M--Let him enter, in the name of the Lord, and be received in due form.

The Senior Deacon then takes the square from the altar, and, repairing to the door, he opens it, and says:

S. D.--Let him enter in the name of the Lord, and be received in due form.

The Junior Deacon advances through the door, followed by the

p. 61

two Stewards, when the Senior Deacon stops them by placing the angle of the square against the candidate’s right breast.

S. D. (pressing square against candidate’s breast.)--Brother Gabe, on entering this Lodge the first time you were received on the points of the compass: I now receive you on the angle of the square, which is to teach you that the square of virtue should be the rule and guide of your conscience in all future transactions with mankind.

The Senior Deacon now takes the candidate by the right arm, followed by the Stewards, and conducts him twice around the Lodge, counting from the Junior Warden’s station in the south, during which time the Master reads the following passage of Scripture:

„Thus he showed me: and behold, the Lord stood upon a wall made by a plumb-line, with a plumb-line in his hand. And the Lord said unto me, Amos, what seest thou? And I said, A plumb-line. Then said the Lord, Behold, I will set a plumb-line in the midst of my people Israel; I will not again pass by them any more.“--Amos vii. 7, 8.

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1. Language is a part of reality.
2. Reality is dependent on language.
3. All of reality is dependent on a part of reality.

confused….

Just have a look on Schulterblatt ‚book’s frici|iction

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Sex, the body, art and aesthetics.

Why is the naked body – or the body – thought of as beautiful, given that the beautiful is usually used to describe nature and art, and that the body has little in common with art or nature (at least to the extent that there is a man:nature dichotomy operative). Is art beautiful because it recalls – or metaphorizes, somehow – the original beauty of the body? Why should the body be beautiful? In fact, does thinking of the body help philosophy to recall the way in which value leads (to) the beautiful? Obviously the bodies of others are valuable to us, in the same way that others are valuable to us, and to the extent that they are contained within their bodies, or simply are their bodies. Are others themselves beautiful; is simply that which is other to us, beautiful, as an evasion of the ennui of the same? Is the different beautiful? (I mean: think of the eroticisation of racial and sexual difference – though still there is the original question here: what is the relationship between the erotic and beautiful?) Are their (the „others‘) bodies therefore beautiful as aesthetic (and can this be reduced here to perceptible?) manifestations of what is valuable? This, of course, goes against most aesthetic theories which focus on art …for its own sake“. How can the body be …for its own sake“, given that is accompanied by affective relationships? Or does the beauty of the body – in the case of unknown model – begin to disappear when it becomes entangled in affective relationships? Do we truly find our spouses, or children, more beautiful than those we don‘t know? Does …knowing“ the body – in the biblical sense as well as the general sense – ruin beauty? Is beauty opposed to familiarity? Is beauty, therefore, negative, always anti-social, in the sense that familiarity relates to reproduction and security, which is pro-social?

Bel

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This is Ingleland.-

Orau: From the Beginning John Bathurst Deane

afriquefrontieres.org …
---------------------------------Sammlung Prinzhorn*

CHAPTER V
THE TREASURE OF HIS BROW

ALTHOUGH men have often been uncertain where unicorns were to be found, there has never been the same difficulty with regard to unicorns‘ horns. These have never been plentiful and they have usually been very dear, but they have been known. Almost any well-read or widely travelled European of the sixteenth century would have been able to name eight or ten whole horns kept in cathedrals, monastic houses, or kings‘ treasuries, not to mention the innumerable smaller pieces to be found in the hands of the wealthy. The study of these horns, of their distribution, origin, and use, leads into the centre of unicorn lore.

„Come we now“, in the words of Thomas Fuller, „to the fashion and colour of the Horn, conceiving it no considerable controversy concerning the length and bignesse thereof, quantity not varying the kind in such cases.“ It is hard to know just what Thomas Fuller, who lived victoriously and contentiously through the English Civil Wars, may have understood by a „considerable controversy“, but this one has been long and earnestly waged. Ctesias gives the length of the horn as one cubit or eighteen inches, Aelian as a cubit and a half, Pliny as two cubits, Solinus and Isidore as four feet, Cardan as three cubits, Rabelais as six or seven feet, and Albertus Magnus as ten feet. At this point the growth of the horn was checked, for the animal that bore it was obviously becoming top-heavy and needed, as several sceptics pointed out, to be „as big as a ship“ merely to carry such a formidable bow-sprit. Arabian writers showed less retraint, for Al Damiri, among others, asserts that the unicorn, for all its great strength, is unable to lift its head because of the great weight of its horn. Other Arabian authorities inform us that he often carries about on this horn the bodies of several elephants which he has „perforated“. Although the spoils went to the victor in these contests, they were frequently--as in human affairs--quite as lethal as defeat, for Alkazuwin says that when once the unicorn has gored the elephant he is unable to remove the corpse from his horn, so that he either starves to death or else dies of the putrefaction. (Here was material for a powerful pacifistic allegory, if the Arabs had been given to such things.) The end comes when the roc, seeing the unicorn with one or more elephants impaled upon his horn, swoops down and bears the whole mass of flesh away as a titbit for its young.

Concerning the length of the alicorn, then, one could think almost whatever one liked. The time was to come when specimens almost if not quite as long as that described by Albertus Magnus were to be seen in Europe, and undoubtedly the respect in which the unicorn was everywhere held was maintained by the effort to imagine a beast to which a horn ten feet in length would be proportionate.

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This thread is closed, so you cannot post a reply.

The reason why I found this interesting was because of the conflict between the artists intent, and the message interpreted from a work of art. I would be inclined to say that the original publication, and not the original manuscript which Herbert ĸ.Wilde wrote (as mentioned, editing happens all the time) would be the „authentic“ work of art. However, it seems odd to say that it’s authentic when the reason for editing wasn‘t for aesthetic achievement as much as it was to shield the audience from what was considered audacious — in this case, it seemed more appropriate to say that Wilde was censored than edited. So it seems that censorship created the „authentic“ work as that is what has been culturally accepted and interpreted, even though the „authentic“ work was censored — and therefore a step away from the artists intent, which is a decent way of trying to pin down authenticity.

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Bel

Roter |Fabricziuus:“figth white power deformæ transcript-verlag.de/main/suche.php?search=linksradikaler+Mietenspiegel Mali

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Resources:

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http://critical-art.net/books/ted/ted6.pdf

The epiphany and the actor
Is this not what Lacan gestures toward by LE POINT DE CAPITON!

http://honeybeekeep.com/content/superorganism Akbar.-cos nos.-

Exactly. A family of bees, or ants, could be considered a super-organism.

1. The universe is, at the very least, aware of itself.

2. How is it that so? It is aware of itself in that it contains and integrates information about itself.
Our own brains do exactly that, and we are part of the universe.

3. I do not have a brain that can conceive of an environment beyond the extents of our space-time continuum, so I can‘t say whether or not the universe is aware of anything else, nor can I make any educated guesses about how it would react to any of it.

Bel Moham Sochkat R.-S.

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left hanging, & tried for the rest to keep clear of what was after all his poem. Later I titled it Thank You: A Poem in 17 Parts, & wrote a note on it for the Mexico City magazine El Corno Emplumado, where it was printed in English & Spanish. This is the first of the seventeen sections:

Now so many people that are in this place.

In our meeting place.

It starts when two people see each other.

They greet each other.

Now we greet each other.

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Now he thought.

I will make the Earth where some people can walk around.

I have created them, now this has happened.

We are walking on it.

Now this time of the day.

We give thanks to the Earth.

This is the way it should be in our minds.

[ Note. The set--up in English doesn‘t, as far as I can tell, reproduce the movement of the Seneca text. More interestingly it’s itself a consideration of that movement: is in fact Johnny John’s reflections upon the values, the relative strengths of elements in his text. The poet is to a great degree concerned with what--stands--out & where, & his phrasing reveals it, no less here than in any other poem.]

Even when being more active myself, I would often defer to others in the choice of words. Take, for example, a set of seven Woman’s Dance songs with words, composed by Avery Jimerson & translated with help from his wife, Fidelia.

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Power, Iatrarchy / Illness, Violence

Apply. Apply ILLNESS to everything [ALL]. Apply everything [ALL] to illness. Illness as nothing but a thoroughly technical matter. To intercede in favor of illness: everybody, every time and everywhere. And, what is no more nor less: turn upside down, shake up [umkrempeln]. Laugh yourself ill at everything that is shrinking by health [gesundschrumpfen]. Stigmatize yourself in favor of illness. Shrink by illness [krank schrumpfen] the Patients’ Front up to a Front’s patient.

What illness are we talking about? We are talking about precisely that FORCE that, being bent and folded in its own [in sich verschraenkte Kraft], is jumping over itself as LIMIT [die sich als Schranke ueberspringt]. For that we are talking about each and every illness. The one you call ‘cancer’, for its moving in retrogression like a crab, is acting just like the so-called lunacy [die krebsende macht es nicht anders als die waehnende], and the lethal one acts equally as the starving one. It’s deadly serious, feasible, and it has to be done, on the spot, urgently.

To the one who dares to embrace illness as a weapon, violence (root: death) is becoming a value without force, and power (root: magic) is quite a humbug without limits [schrankenlos fauler Zauber]. Illness is the crowbar made of force and limit [Krankheit ist das Brecheisen aus Kraft und Schranke]. Iatrarchy (the violent power of the doctors‘ class which is the violence of HEIL as such) is the appropriate, because of its being pleonastic, superfluous word beyond and on the right side of illness and the fraction-line.

Tactical areas of the application of illness (pathopractical topoi) are: Coming-into-and-remaining-in-being [Werden, Prozess, Hegel], World [Welt], and Word [Wort]. The pathopractic action (pathopractice) consists in bending in itself force and limit of coming-into-and-remaining-in-being, world and word, up to the point in which they crack:
ILLNESS THAT’S THE POINT [the punctum saliens] when we change
Coming-into-and-remaining-in-being from ’staying in health‘ into turmoil [Wirre]
World into becoming ill
Word into attack [Widerstreit].
Until now, Coming-into-and-remaining-in-being, World and Word are constituted as violent power of the doctors‘ class, as violence of salus [HEIL].
Coming-into-and-remaining-in-being is, of course, thus: naturally, not to say iatrarchically: staying in health;
World is the violence of value without limits [schrankenlose Wertgewalt];
Word is the terrorist platen and armoured press against illness (therapy).
And illness itself, being chopped up into pieces as somatosis, psychopathy, reaction, evil, guilt, psychosis, neurosis and deviancy, is the bellows and the strengthening syringe of Iatrarchy and metaphysics, in brief: it’s the puffed up storage of the forces of what is shrinking by health [aufgeblasener Kraftspeicher der Gesundschrumpfung].

This „illness“ is to be taken as life itself: to laugh oneself ill at it.

The Negro, by W.E.B. Du Bois, [1915], at sacred-texts.com

p. 36
V GUINEA AND CONGO

One of the great cities of the Sudan was Jenne. The chronicle says „that its markets are held every day of the week and its populations are very enormous. Its seven thousand villages are so near to one another that the chief of Jenne has no need of messengers. If he wishes to send a note to Lake Dibo, for instance, it is cried from the gate of the town and repeated from village to village, by which means it reaches its destination almost instantly.“ 1

From the name of this city we get the modern name Guinea, which is used to-day to designate the country contiguous to the great gulf of that name--a territory often referred to in general as West Africa. Here, reaching from the mouth of the Gambia to the mouth of the Niger, is a coast of six hundred miles, where a marvelous drama of world history has been enacted. The coast and its hinterland comprehends many well-known names. First comes ancient Guinea, then, modern Sierra Leone and Liberia; then follow the various „coasts“ of ancient traffic--the grain, ivory, gold, and slave coasts--with the adjoining territories of Ashanti, Dahomey, Lagos, and Benin, and farther back such tribal and territorial names as those of the Mandingoes, Yorubas, the Mossi, Nupe, Borgu, and others.

Recent investigation makes it certain that an ancient civilization existed on this coast which may have gone back as far as three thousand years before Christ. Frobenius, perhaps fancifully, identified this African coast with the Atlantis of the Greeks and as part of that great western movement in human culture, „beyond the pillars of Hercules,“ which thirteen centuries before Christ strove with Egypt and the East. It is, at any rate, clear that ancient commerce reached down the west coast. The Phœnicians, 600 B.C., and the

p. 37

[paragraph continues] Carthaginians, a century or more later, record voyages, and these may have been attempted revivals of still more ancient intercourse.

‚Hochschule fur Bildene Kunstbums‘ 2013 BX~+

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Haroldo de Campos

from Galáxias

„Circuladô de fulô“

introduction

by A.S. Bessa – Secret green V.AæA.S.P Londomn-In 1959, at age of 29 and accompanied by his wife Carmen, Haroldo de Campos left Brazil for the first time to travel through Europe — a trip which included among other things, visits with Karlheinz Stockhousen, in Cologne, and Ezra Pound, in Rapallo. On his way back, Campos made a stop in Recife, a city in the Brazilian northeast, and from there he proceeded to other cities until finally reaching São Paulo. In an autobiographical sketch written in the late 1980s Campos recalled this last leg of his trip as „rediscovering Brazil via the world. The hybrid and the ecumenical. The multi-devouring baroquism of aerial roots. Diaspora-disseminating.“ The memory of his incursion into this „other Brazil“ was later evoked by Campos in one of his most endearing texts, „Circuladô de fulô,“ the fifteenth text in Galáxias, his book of prose-poetry written between 1963 and 1976.

Galáxias, a collection of fifty texts written in stream-of-consciousness style, is a long unpunctuated meditation on writing, world literature and the elusive nature of the book. „Circuladô de fulô“ is Campos’s tribute to the popular art of minstrelsy as practiced in the Brazilian northeast. The text, inspired by a song that Campos heard in a state fair possibly in the outskirts of Recife, was written between February 21 and 24, 1965. Its first two lines („circuladô de fulô ao deus ao demodará que deus te guie porque eu não posso guiá eviva quem já me deu circuladô de fulô e ainda quem falta me dá“) seem to be a direct quote from the original song, which to my knowledge has never been recorded or printed. There is no information either on the song’s author. Fortunately we do know enough about that tradition, for the literature on it is extensive, to infer what triggered Campos’s interest.

The tradition of troubadours, or minstrels, in the Brazilian northeast is believed to have its roots in the Provençal tradition by way of Portugal and the poet king Dom Diniz, with his „cantigas de amigo e de amor“ (songs of friendship and love). Like their European counterparts in the Middle Ag- X.*

http://ubumexico.centro.org.mx/text/emr/articles/amacher.pdf

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Concept Formation – RAND

I‘m studying a bunch of different ideas, methods, actions, in a lot of different media – books, videos, and integrated lectures. I have found something that seems to be integrated in a way that makes sense given both sensory and reasoned modes. My motivation for this post is to exercise the muscles I have developed in my study and to see if my statements produce any contrary ideas I had not considered.

If you have not read Rand’s Introduction to Objectivist Epistemology, especially the more recent version expanded by her heirs, you are unlikely to be qualified to comment on this thread. Your thoughts on her ethical stand (somewhat contreversial) without reference to her epistemology and metaphysics is really a social discussion rather than a philosophical investigation; this site is dedicated to philosophy and, therefore, „what do we know and how do we know it,“ and only then, „how should we act and organize groups.“ This post may be too much for a forum, it needs a book; yes, I agree, so read the book referred to above or stay out. In this way, this post actually performs a method function for reasoned members. Anyone following this thread, can delete from their member page delete list, anyone who comments without knowledge or substance of Objectivist metaphysics or epistemology. No charge.

I need to preveiw my post in this way because so many people on this site think Rand is only a political commentator or an ethicist because her famous works are fiction, in which the average guy would probably not consciously identify any underlying met/ep ideas. Rand has been dismissed by many thinkers that are only aware of her conclusions in ethics and politics. They see her like a guru instead of a philosopher. This trend is an unfortunate consequence of the fact that Miss Rand’s general popularity has been based upon fiction stories and out-of-the-mainstream non-fiction articles. But, what about her, less famous thoughts, in met/ep?

And so, where is the flaw in her method of concept formation and use thereafter – that is, differentiation by recognition of similarity of attributes, leading to differentiation of what are now thought of as units, differentiated from other existents. This is induction. These may be, and are in the early stages, entities that are directly perceivable, but for adults, they become there own concepts or units in abstraction for developing more extensive or intensive concepts. In each case the attributes of the group of units are recognized as similar in measurment, but the measurments are omitted in the abstraction to recognize the similarity. Each similarity must exist in some measure but may exist in any measure. When a word is recognized, it becomes an entity and probably a unit for the next level of abstraction; words are, therfore, not primary, but a method for subsuming more complex ideas into t|media Ghetto porn against & versus Roman TiqueQaterfall…

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i did a quote for brighton yesterday
» its manly all in the north mate. as i dont advertise
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Can‘t get mucg further south lol
» much
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Theme for the New Year’s Poetry Reading (2014) : SEI (quiet)

His Majesty the Emperor
Spreading beyond
The memorial monument
I see before me
The sea of Minamata
So blue, so calm, and so still.
Ireihi no
Saki ni hirogaru
Minamata no
Umi aokushite
Shizuka narikeri

(Background of the poem)
In October Their Majesties the Emperor and the Empress visited Kumamoto Prefecture to attend the National Convention for the Development of an Abundantly Productive Sea and visited the city of Minamata for the first time to participate in the Welcome Ceremony at sea and the release of young fishes into the water. On Their arrival, Their Majesties offered flowers at the Memorial Monument for Minamata Disease Victims. In this poem, His Majesty describes how, on that occasion, He saw the sea of Minamata spreading beyond the Memorial Monument.

Minamata disease is a neurological syndrome caused by severe mercury poisoning, first discovered in Minamata city in Kumamoto Prefecture. It was caused by the release of methylmercury in the industrial wastewater from Chisso Corporation’s chemical plant, which continued from 1932 to 1968.

Her Majesty the Empress
„I now leave to serve
The deity soon to be moved
To a newly built shrine“
So saying with eyes serene
Our daughter left for Ise.
Miutsuri no
Chikaki miyai ni
Tsukauruto
Hitomi shizukani
Ko wa iite tatsu

(Background of the poem)
Ever since her appointment the year before last as a Special Priestess for the relocation of the deity of the Grand Shrine of Ise, Ms. Sayako Kuroda, Their Majesties‘ daughter, served in a series of ceremonies at the shrine on a number of occasions. The deity has been relocated and installed in a new shrine rebuilt every 20 years since A.D. 690, when the practice first began. In this poem, Her Majesty describes how her daughter came to see Their Majesties in September before her departure for Ise.

His Imperial Highness the Crown Prince
The graceful sound of singing is heard in the stillness of the Sanctuary during the Niiname-sai.

(Background of the poem)
His Imperial Highness accompanies His Majesty The Emperor to the Niiname-sai, the Harvest Thanksgiving Ceremony celebrated from the night of November twenty-third until the morning of the twenty-fourth every year in the Shinkaden housed in the Sanctuary of the Palace. This poem depicts his appreciation of the elegant sounds of the sacred Mikagura music performed outside as heard within the silence of the Sanctuary.

Her Imperial Highness the Crown Princess
As though it enwraps even the sorrow, the sea off Kamaishi lies in tranquility.

(Background of the poem)
In November, Their Imperial Highnesses The Crown Prince and Princess visited Kamaishi in Iwate Prefecture, the site of the great earthquake disaster.
The city was severely damaged by the earthquake and tsunami of March, 2011 and is now in the process of recovery. Their Highnesses were most happy to learn there that in May of last year sea urchin fishing had resumed in the Heita District of Kamaishi 2 years after the disaster.
On the day of their visit, the bay of Kamaishi was tranquil. This poem expresses Her Highness’s earnest desire that the sorrow of the people who for many years have lived with the ocean would gradually be lifted, and that the ocean would peacefully protect the livelihood of the people and bring them bountiful blessings.