people-from-berlin

"Give me love and contentment that I may proclaim thy glory, Lord of earth; give me health with competence, a pious heart, and a steadfast mind; give me children, worthy of all care; scare from my cheerful hearth the foe away; then give me wings, and one small hill of sand in my loved Fatherland, give wings to the soul so unwilling to flee, that it may easily tear itself from this beautiful world."

"Since the discovery of the Indus civilization … it has been almost universally accepted that the Sumerians immigrated from the east.... this immigration could have succeeded entirely by land if the Sumerians immigrated from somewhere in northern India... the westward migration of the Sumerian groups, whose language may have been related to the Dravidian languages of India."

"Von Soden observes that “since the discovery of the Indus civilization … it has been almost universally accepted that the Sumerians immigrated from the east.” The immigrants are regarded as having arrived in lower Mesopotamia either at the beginning of the Ubaid period (c. 5000 B.C.) or at the beginning of the Uruk period (perhaps c. 3500 B.C., but perhaps as late as 3250). In either case, the Sumerians seem to have fitted easily into an advanced Chalcolithic culture where writing was already in the early stages of development. Therefore, the implication is that they must have been from another advanced culture, and that points to the East. Bottero agrees that “the Sumerians must have arrived in Mesopotamia during the fourth millennium, apparently from the southeast.” Von Soden further observes that “this immigration could have succeeded entirely by land if the Sumerians immigrated from somewhere in northern India,” and refers suggestively to “the westward migration of the Sumerian groups, whose language may have been related to the Dravidian languages of India.”"

"The influence on mathematics of its two neighbors, physics and logic, is sometimes opposite or, at least, complementary. Whereas the entropy theorems of probability theory and mathematical physics imply that, in a large universe, disorder is probable, certain combinatorial theorems imply that complete disorder is impossible."

"Life is too short to drink cheap wine."

"Throughout my career, I have come to understand that in order to gain success within any professional venture, one must find the human element in everything. Within the world of medical research, biochemistry, and business, numbers and facts often lead the way. Often times, empathy doesn’t exist, and human connections aren’t at the forefront of the work day."

"“What the Brahmans as protectors of their culture achieved in those days,” writes Wilhelm von Pochhammer, “has never been properly recorded, probably because a considerable number of people belonging precisely to this class had been slaughtered. If success was achieved in preserving Hindu culture in the hell of the first few centuries, the credit undoubtedly goes to the Brahmans. They saw to it that not too many chose the cowardly way of getting converted and that the masses remained true to the holy traditions on which culture rested…”"

"Chances are that the warmer temperature in May could ‘dry out’ the infection rate, but next winter would see a new outbreak. So it comes down to winning time to have more people immune and to have a vaccine commercially available."

"The immense and uncontrollable blood-baths, the brutality with which civilian populations were massacred and women and girls were dragged into harems which to the Hindus appeared as no better than brothels, the introduction of a slave trade in which thousands of people including children were sold; all these generated a hatred for foreigners.. The hatred was increased by the shameless way in which the foreigners destroyed holy places after having first defiled them in the most senseless way."

"Many people take appropriate action to prevent infection and thus the spreading of the virus. However some people are overreacting and are more scared than they should be — and others don’t seem to really care."

"Wir deutschen Sozialdemokraten bekennen uns in dieser geschichtlichen Stunde feierlich zu den Grundsätzen der Menschlichkeit und der Gerechtigkeit, der Freiheit und des Sozialismus. Kein Ermächtigungsgesetz gibt Ihnen die Macht, Ideen, die ewig und unzerstörbar sind, zu vernichten. Sie selbst haben sich ja zum Sozialismus bekannt. Das Sozialistengesetz hat die Sozialdemokratie nicht vernichtet. [...] Wir grüßen die Verfolgten und Bedrängten. Wir grüßen unsere Freunde im Reich. Ihre Standhaftigkeit und Treue verdienen Bewunderung. Ihr Bekennermut, ihre ungebrochene Zuversicht verbürgen eine hellere Zukunft. In this historic hour, we German Social Democrats solemnly pledge ourselves to the principles of humanity and justice, of freedom and socialism. No Enabling Act gives you the power to destroy ideas that are eternal and indestructible. [...] We greet the persecuted and the oppressed. We greet our friends in the Reich. Your steadfastness and loyalty deserve admiration. The courage of your convictions and your unbroken optimism guarantee a brighter future."

"Freiheit und Leben kann man uns nehmen, die Ehre nicht. Freedom and life can be taken from us, but not our honor."

"“An example of this more sophisticated orientalism is the work of Paul Thieme”... esp. his “analysis of the Sanskrit word ārya, where at the end he adverts to the main point of his research: to go beyond India in order to catch the ‘distant echo of Indo-germanic customs’.”"

"In the 1930s, numerous Indologists sought to anchor Nazi racial theory in ancient "Aryan" history and literature, including Erich Frauwallner, Hermann Güntert, Hermann Lommel, Paul Thieme, and Ludwig Alsdorf."

"In a list of names of gods with Babylonian equivalents we find a sun-god Suriyas (rendered Samas) which must clearly be identified with Skt Surya. In addition, Maruttas the war-god (rendered En-Urta) has been compared with Skt Marut ... Among the kings of this dynasty one has a name which can be interpreted as Aryan: Abhirattas: abhi-ratha ñ ëfacing chariots in battleí."

"“The discovery of ‘Aryan’ looking names of (Mitanni) princes on cuneiform documents in Akkadian from the second half of the second millennium BC (chiefly tablets from Bogazkoy and El-Amarna), several doubtlessly Aryan words in Kikkuli’s treatise in Hittite on horse training (numerals: aika- ‘one’, tera- ‘three’, panza- ‘five’, satta – ‘seven’, na(ya) – ‘nine’; appellatives: varttana – ‘circuit’, course (in which horses move when being trained),’ aliya – ‘horse’), and, finally, a series of names of Aryan divinities on a Mitanni-Hatti and a Hatti-Mitanni treaty (14th century BC), poses a number of problems that have been reportedly discussed since the beginning of the century.”"

"The fact that proto-Aryan *ai and *au are replaced in Indo-Aryan by e and o, while in Iranian they are preserved as ai and au and that ai and au regularly appear on the Anatolian documents (eg. Kikkuli‘s aika), is unfortunately inconclusive. It is quite possible that at the time of our oldest records (the hymns of the Rigveda) the actual pronunciation of the sounds developed for *ai and *au spoken and written by the tradition as e and o, was still ai and au. The e and o can be a secondarily introduced change under the influence of the spoken language or the scholastic recitation."

"“All the Dravidian languages known to us fairly bristle with loans from Sanskrit and the Aryan vernaculars. Dravidian literature in South India came into existence under the impulse and influence of Sanskrit literature and speech. Wherever there is a correspondence in the vocabularies of Sanskrit and Dravidian, there is a presumption, to be removed only by specific argument, that Sanskrit has been the lender, Dravidian the borrower.” ....“If a word can be explained easily from material extant in Sanskrit itself, there is little chance for such a hypothesis”."

"In the retinue of Buddhism, it had a decisive part in forming the musical style of the East, of China, Korea and Japan, and with Hindu settlers it penetrated what today is called Indo-China and the Malay Archipelago. There was a westbound exportation too. The fact, of little importance in itself, that an Indian was credited with having beaten the drum in Mohammed's military expeditions might at least be taken for a symbol of Indian influence on Islamic music. Although complete ignorance of ancient Iranian music forces us into conservation we are allowed to say that the system of melodic and rhythmic patterns characteristic of the Persian, Turkish and Arabian world, had existed in India as the rāgas and tālas more than a thousand years before it appeared in the sources of the Mohammedan Orient."

"The roots of music are more exposed in India than anywhere else. The Vedda in Ceylon possess the earliest stage of singing that we know, and the subsequent strata of primitive music are represented by the numberless tribes that in valleys and jungles took shelter from the raids of northern invaders. So far as this primitive music is concerned, the records are complete or at least could easily be completed if special attention were paid to the music of the ‘tribes’…[There are] hundreds of tribal styles…"

"The oldest preserved style, the classical Sino-Japanese Bugaku dances […are…] of Indian origin, and Chinese and Japanese music on the whole were under Indian influence in the second half of the first millennium A.D. And yet the most typical trait of Indian music, its sophisticated rhythmical patterns or tālas, had no chance in the East. In 860 A.D., someone wrote a treatise on drumming in China, with over one hundred ‘symphonies’ which doubtless were Indian tālas; but nothing came of this, and not one of the Far Eastern styles has preserved the slightest trace of such patterns. The three rhythms used in Tibetan orchestras, and kept up in percussion even when the other parts are silent, are obviously not Far Eastern, but deteriorated Indian patterns. The elaborate polyrhythm of Balinese cymbal players that Mr. Colin MePhee has recently described is not Far Eastern either."

"[In respect of the Slendro or "male" scale in Indonesian music,] "It seems that the modes or, better, the melodies ascribed to the modes, matter today only from the standpoint of choosing the adequate time for performance: pieces in nem are to be played between seven and midnight; sanga is the right mode for the early morning between midnight and three and for the afternoon between noon and seven; manjura belongs to the hours between 3:00 A.M. and noon. This time table is unmistakably Indian. The name salendro points also to India. It probably stemmed from the Sumatran Salendra Dynasty, which ruled Java almost to the end of the first thousand years A.D. and had come from the Coromandel Coast in South India. Thus it might be wiser to connect slendro with ragas like madhyamāvati, mohana, or hamsadhvanī than with the Chinese scale""

"[And here is what Sachs has to say about the 7-tone-22-shruti system of notes described in Bharata's text:] We know that two basic principles have shaped scales all over the world: the cyclic principle with its equal whole tones of 204 and semitones of 90 Cents, and the divisive principle with major whole tones of 204, minor whole tones of 182, and large semitones of 112 Cents. Bharata’s system derives from the divisive principle, and this, in turn, stems from stopped strings. But the earlier part of Indian antiquity had no stringed instrument except the open-stringed harp; no lute, no zither provided a fingerboard. India must have had the up-and-down principle, and it cannot but be hiding somewhere."

"So vital in East Asiatic music is the delicate vacillation that dissolves the rigidity of pentatonic scales that all possible artifices have carefully been classified, named, and, by the syllabic symbols of their names, embodied in notation: ka (to quote the terms of Japanese koto players); that is, sharpening a note by pressing down the string beyond the bridge; niju oshi, sharpening by a whole tone; é, the subsequent sharpening of a note already plucked and heard; ké, sharpening it for just a moment and releasing the string into its initial vibration; yū, the same, but making the relapse very short before the following note is played; kaki, plucking two adjoining strings in rapid succession with the same finger; uchi, striking the strings beyond the bridges during long pauses; nagashi, a slide with the forefinger over the strings; and many others [….] Recent investigation has made clear that this tablature is a Chinese transcription of Sanskrit symbols used in India. Indeed, the graces of long zithers, unparalleled in East Asiatic music, are nothing else than the gamakas of India, imported with the sway of Buddhism during the Han Dynasty and given to the technique of Chinese zithers, which became the favorite instruments of meditative Buddhist priests and monks."

"The first iconographic record of the hand bell or ghaṇṭā is not conclusive. As late as the seventh century it is depicted in one of the caves at Aurangabad; yet five hundred years earlier, the greco-Syrian philosopher, Bardesanes, had related that while the Hindu priest prayed, he sounded the bell. It was small and tulip-shaped, with a thick clapper. As it was exclusively used by priests in the worship of Hindu divinities, the handle was finely decorated with religious symbols, such as Siva's trident, Vishnu's eagle or Hanuman, the king of the apes."

"[In Burmese music,] "These penetrant oboes, which lead the melody instead of the tinkling gongs of Java and Bali, are definitely Indian. But still more Indian is the unparalleled drum chime of, normally, twenty-four carefully tuned drums, suspended inside the walls of a circular pen, which the player, squatting in the center, strikes with his bare hands in swift, toccata like melodies with stupendous technique and delicacy""

"China also passed on to Japan the ceremonial dances of India with their music, which were Japanized as the solemn and colorful Bugaku."

"When we read in Bharata's classical book of the twenty-two microtones in ancient Indian octaves, of innumerable scales and modes, and of seventeen melodic patterns and their pentatonic and hexatonic alterations, we realize that music at, or even before, the beginning of the first century AD was by no means archaic. Indeed, there is no reason to believe that India's ancient music differed substantially from her modern music."

"[And here is what Sachs has to say about Bharata's ancient text the Natya-Shastra, which he agrees could be as early as the 4th century BCE and about which he tells us that it] "testifies to a well-established system of music in ancient India, with an elaborate theory of intervals, consonances, modes, melodic and rhythmic patterns". ... "Bharata's text was probably rehandled as early as antiquity, and it may confirm the idea that Bharata himself wrote his treatise much earlier" ... [He also tells us that this text establishes that it represents a stage where the] "slow transition from folk-song to art-song, from hundreds of tribal styles to one all-embracing music of India […] had long ago come to an end"."

"The strange, never-ceasing drones used in the choral singing of Tibet belong in the Indian, not the Chinese sphere of Tibetan civilization."

"[In Siamese (Thai) music,] "the comparatively large share of drums, however, indicates the neighborhood of India""

"When I talk about cosmic laws I am not just referring to the greater contexts, such as the laws of polarity or resonance, but also to ideas like a proper diet and achieving a natural relationship between rest and activity. As humans, we were born omnivores with strong vegetarian tendencies. So we should not be surprised when, as we age, we develop conditions such as arteriosclerosis, rheumatism, etc., due to an exaggerated daily intake of protein. We are not abiding by the laws and have to pay for it. The fact that the majority of people ignores these laws does not change their validity."

"I have been a vegetarian for more than 40 years and, five years ago, I became a vegan. There are many wonderful gifts that have come out of this way of life. First, not only is it easier to maintain your ideal weight, but physical exercise turns out to be much more joyful, while raising metabolism and in turn making it easier to achieve your desired figure. Most importantly, your zest for life is enhanced … You have more energy, which makes you feel more at ease and puts you in a better mood. … Above all, it is a huge relief to get rid of the misery and torment of the slaughtered animals you otherwise would have eaten and to experience yourself in a free and peaceful manner. … We can meditate and pray for peace, and we can also eat peace. One does not exclude the other; on the contrary, a balanced vegetarian diet promotes deeper meditation which again enhances inner peace which, in my opinion, is a mandatory requirement for external peace."

"It's hard to be emperor under such a chancellor."

"Daberlohn's diagnosis [about the etching she made as his portrait] holds encouragement for Charlotte.. ..Daberlohn (in his letter) 'In my opinion you are destined to create something above average.' .. ..'Above average.' She is elated by his letter and really feels quite proud.. .While beginning to paint the buttercup-strewn meadow where she happens to be sitting, she decides to make his prophecy come true and actually create something 'above average'."

"Charlotte: 'I have some more [paintings she recently made] to show you'. Daberlohn: Well, let's meet this evening... .. Isn't it absurd to address each other so formally? You're such a baby – here, let me hold your hand.. ..Real painter's hands'. Charlotte: 'To me they're just ugly'.. ..'You would be a wonderful subject for a portrait -' Daberlohn (to himself) : 'Little girl, if you only knew what one has to go through to be able to paint'."

"Franziska (mother of Charlotte): 'In Heaven everything is much more beautiful than here in earth – and when your Mummy has turned into a little angel she'll.. ..bring a letter, telling her what's like in Heaven..'. Franziska was of somewhat sentimental disposition."

"Fashion drawing teacher: Yes, drawing is a difficult art. One has to have some talent for it - and unfortunately you haven't. Charlotte: 'No, I refuse to stay here with this stupid old cow, where through the dirty window even the sun's bright ray can only dimly play.. .Only he who dares can win. Only he who dares can begin."

"The following pictures are those which to the author seem the strangest. Without doubt they have their origin in Michelangelo Rome series of the main section that was sung with the loudest and most penetrating voice of this entire opus. ('Creation of Adam, by Michelangelo')"

"..Since I myself needed a year to discover the significance of this strange work, many of the texts and tunes, particularly in the first paintings, elude my memory and must - like the creation as a whole so it seems to me - remain shrouded in darkness."

"'The tri-coloured play with music begins' (in Deutsch: Das Drei Farben Singespiel beginnt..) the cast is as follows Dr. and MRS. Knarre, a married couple Franziska and Charlotte, their daughters Dr. Kahn, a physician Charlotte Kahn, his daughter Paulinka Bimbam, a singer Dr. Singsong, a versatile person Professor Klingklang, a famous conductor An Art teacher Professor and Students at an art academy and Chorus.. ..The action takes places during the years 1913 to 1940 in Germany, later in Nice, France"

"The creation of the following paintings is to be imagined as follows: A person is sitting beside the sea. She is painting. A tune suddenly enters her mind. As she starts to hum it, she notices that the tune exactly matches what she is trying to commit to paper. A texts forms in her head, and she starts to sing the tune, with her own words, over and over again in a loud voice until the painting seems complete. Frequently, several texts take shape, and the result is a duet, or it.."

"'Life? or Theater?' - A Play with Music - C.S."

"My life began when my grandmother decided to take hers, when I found out that my mother's whole family did the same thing [told bij het grandfather c. 1941], when I found out that I am the only one surviving, and when I felt the same inclination deep inside of me, craving for despair and death."

"Consisting of a 'Prelude', a 'Main Section', and an 'Epilogue' - (dedicated to Ottillie Moore)"

"..even happens that each character has to sing a different text, resulting in a chorus. The varied nature of the paintings should be attributed less to the author than to the varies nature of the characters to be portrayed. The author [= Charlotte Salomon] has tried.. ..to go completely out of herself to allow the characters to sing or speak in their own voices. In order to achieve this, many artistic values had to be renounced, but I hope that.. ..this will be forgiven. - The author, St. Jean, August 1940/42"

"Daberlohn writes: 'The creation of Adam is God's final act which He hurls from His heights into the depths. It is not the same God Who creates eve. This is the tragedy of the king who must hand over his dominion to his son…"

"I became my mother, my grandmother. I learned to travel all their paths and became all of them.. .I knew I had a mission, and no power on earth could stop me."

"Keep this safe, it is my whole life."

"..And with dream awakened eyes she saw all the beauty around her, saw the sea, felt the sun, and knew she had to vanish for a while from the human surface and make every sacrifice in order to create her world anew out of the depths. And from that came Life or Theater???"