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【iOS 17.3.1】不具合バグ修正情報・新機能・変更点・いつ公開・インストール時間・やり方など
iOS 17.3.1 配信開始日は2024年02月09日 金曜日 (日本時間) 記事のアップデート情報 2024年02月09日 金曜日 (日本時間) 記事公開 OSリリース情報 今�� 2024年02月09日 金曜日 (日本時間)に最新のOS、iOS 17.3.1 がリリースされました。 今回のアップデートは「バグ不具合修正を含む小型アップデート」です。「このアップデートにはiPhone用のバグ修正が含まれます」ので必ずアップデートをしましょう‼️ 参考前回2024年01月23日 火曜日 (日本時間)に一つ前のOS、iOS 17.3 がリリースされました。 情報は公式ページにも公開中 Appleの公式サイトはこちらです 大きな不具合報告 2024年02月09日 金曜日…
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Charles Joseph Natoire Io enlevé par Jupiter 1731
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A Clique Analysis of Quakers in early modern Britain (1500-1700)
A description of the problem
Today, I am going to re-implement in clojure a part of a networking analysis done by John R. Ladd, Jessica Otis, Christopher N. Warren, and Scott Weingart titled "Exploring and Analyzing Network Data with Python" at Programming Historian. The original analysis is done with python using networkx. I am going to re-implement the part of the analysis about finding maximum cliques within the network. I am going to use JGraphT which is as extensive as networkx in its functionality. The rest of the analysis can too be repeated within clojure.
Data
The network data is from the Six Degrees of Francis Bacon project. Project aims to show and analyze the social networks of early modern Britain (1500-1700). The dataset composed of pairs of important Quaker figures that know each other. The data is culled from the Oxford Dictionary of National Biography. I collected two files: a list of nodes and a list of edges from Programming Historian.
Here is a small sample from the nodes list:
Name, Historical Significance, Gender, Birthdate, Deathdate, ID Joseph Wyeth, religious writer, male, 1663, 1731, 10013191 Alexander Skene of Newtyle, local politician and author, male, 1621, 1694, 10011149 James Logan, colonial official and scholar, male, 1674, 1751, 10007567 Dorcas Erbery, Quaker preacher, female, 1656, 1659, 10003983 Lilias Skene, Quaker preacher and poet, male, 1626, 1697, 10011152
and a sample from the edge list:
Source, Target George Keith, Robert Barclay George Keith, Benjamin Furly George Keith, Anne Conway Viscountess Conway and Killultagh George Keith, Franciscus Mercurius van Helmont George Keith, William Penn George Keith, George Fox George Keith, George Whitehead George Keith, William Bradford James Parnel, Benjamin Furly James Parnel, Stephen Crisp Peter Collinson, John Bartram Peter Collinson, James Logan
The Code
Preamble
I am going to use JGraphT, and it needs to declared in the list of dependencies. Here's my deps.edn dependencies:
{ :deps {org.jgrapht/jgrapht-ext {:mvn/version "1.5.1"} org.jgrapht/jgrapht-opt {:mvn/version "1.5.1"} org.jgrapht/jgrapht-io {:mvn/version "1.5.1"} org.jgrapht/jgrapht-core {:mvn/version "1.5.1"}} :mvn/repos { "central" {:url "https://repo1.maven.org/maven2/"} "clojars" {:url "https://repo.clojars.org/"}}}
Next, the namespace:
(ns quakers (:require [clojure.set :as s]) (:require [clojure.java.io :as io]) (:import [java.io File]) (:import [org.jgrapht.alg.clique BronKerboschCliqueFinder]) (:import [org.jgrapht.alg.scoring PageRank]) (:import [org.jgrapht.graph DefaultEdge SimpleGraph DefaultEdge]))
Let me start by a utility code that reads the necessary file and converts into a usable sequence:
(defn from-file [file processor] (->> file File. io/reader line-seq (map processor) rest))
#'quakers/from-file
Let us first ingest the nodes. For this analysis, I care only about the names. So, I'll ingest just those. Instead of showing the whole list, I'll show the first 5 names.
(def nodes (from-file "quakers_nodelist.csv" #(-> % (clojure.string/split #",") first))) (->> nodes (take 5) (into []))
#'quakers/nodes ["Joseph Wyeth" "Alexander Skene of Newtyle" "James Logan" "Dorcas Erbery" "Lilias Skene"]
Next, I'll ingest the edges which are pairs of nodes. As before, I'll show only the first 5:
(def edges (from-file "quakers_edgelist.csv" #(-> % (clojure.string/split #",")))) (->> edges (take 5) (into []))
#'quakers/edges [["George Keith" "Robert Barclay"] ["George Keith" "Benjamin Furly"] ["George Keith" "Anne Conway Viscountess Conway and Killultagh"] ["George Keith" "Franciscus Mercurius van Helmont"] ["George Keith" "William Penn"]]
Now, I'll construct the graph.
(def graph (SimpleGraph. DefaultEdge)) (doseq [x nodes] (.addVertex graph x)) (doseq [[x y] edges] (.addEdge graph x y))
#'quakers/graph
Maximal cliques
The next step is to calculate the maximal cliques within the network and list them:
(def result (->> graph BronKerboschCliqueFinder. .maximumIterator iterator-seq (map seq) (into []))) result
#'quakers/result [("Edward Burrough" "George Fox" "John Crook" "William Dewsbury") ("Edward Burrough" "George Fox" "John Crook" "John Perrot") ("James Nayler" "Edward Burrough" "George Fox" "Francis Howgill") ("James Nayler" "Edward Burrough" "George Fox" "Thomas Ellwood") ("James Nayler" "Edward Burrough" "George Fox" "John Perrot") ("William Penn" "George Fox" "George Keith" "George Whitehead") ("Benjamin Furly" "William Penn" "George Fox" "George Keith") ("James Nayler" "Richard Farnworth" "Margaret Fell" "Anthony Pearson")]
There are 8 maximal cliques each with 4 names in them:
[(count result) (map count result)]
[8 (4 4 4 4 4 4 4 4)]
PageRank
In this part of the post, I'll do something different. Let me apply the PageRank algorithm to this network to find the important nodes. As before, I'll display the top 5 nodes.
(def result2 (->> graph PageRank. .getScores (into {}) (sort-by second) reverse)) (->> result2 (map first) (take 5) (into []))
#'quakers/result2 ["George Fox" "William Penn" "James Nayler" "George Whitehead" "Margaret Fell"]
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Black Panther 2018 Bluray Download
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MySQL 101: Tuning MySQL After Upgrading Memory
In this post, we will discuss what to do when you add more memory to your instance. Adding memory to a server where MySQL is running is common practice when scaling resources. First, Some Context Scaling resources is just adding more resources to your environment, and this can be split in two main ways: vertical scaling and horizontal scaling. Vertical scaling is increasing hardware capacity for a given instance, thus having a more powerful server, while horizontal scaling is adding more servers, a pretty standard approach for load balancing and sharding. As traffic grows, working datasets are getting bigger, and thus we start to suffer because the data that doesn’t fit into memory has to be retrieved from disk. This is a costly operation, even with modern NVME drives, so at some point, we will need to deal with either of the scaling solutions we mentioned. In this case, we will discuss adding more RAM, which is usually the fastest and easiest way to scale hardware vertically, and also having more memory is probably the main benefit for MySQL. How to Calculate Memory Utilization First of all, we need to be clear about what variables allocate memory during MySQL operations, and we will cover only commons ones as there are a bunch of them. Also, we need to know that some variables will allocate memory globally, and others will do a per-thread allocation. For the sake of simplicity, we will cover this topic considering the usage of the standard storage engine: InnoDB. We have globally allocated variables: key_buffer_size: MyISAM setting should be set to 8-16M, and anything above that is just wrong because we shouldn’t use MyISAM tables unless for a particular reason. A typical scenario is MyISAM being used by system tables only, which are small (this is valid for versions up to 5.7), and in MySQL 8 system tables were migrated to the InnoDB engine. So the impact of this variable is negligible. query_cache_size: 0 is default and removed in 8.0, so we won’t consider it. innodb_buffer_pool_size: which is the cache where InnoDB places pages to perform operations. The bigger, the better. 🙂 Of course, there are others, but their impact is minimal when running with defaults. Also, there are other variables that are allocated on each thread (or open connection):read_buffer_size, read_rnd_buffer_size, sort_buffer_size, join_buffer_size and tmp_table_size, and few others. All of them, by default, work very well as allocation is small and efficient. Hence, the main potential issue becomes where we allocate many connections that can hold these buffers for some time and add extra memory pressure. The ideal situation is to control how many connections are being opened (and used) and try to reduce that number to a sufficient number that doesn’t hurt the application. But let’s not lose the focus, we have more memory, and we need to know how to tune it properly to make the best usage. The most memory-impacting setting we need to focus on is innodb_buffer_pool_size, as this is where almost all magic happens and is usually the more significant memory consumer. There is an old rule of thumb that says, “size of this setting should be set around 75% of available memory”, and some cloud vendors setup this value to total_memory*0.75. I said “old” because that rule was good when running instances with 8G or 16G of RAM was common, so allocating roughly 6G out of 8G or 13G out of 16G used to be logical. But what if we run into an instance with 100G or even 200G? It’s not uncommon to see this type of hardware nowadays, so we will use 80G out of 100G or 160G out of 200G? Meaning, will we avoid allocating something between 20G to 40G of memory and leave that for filesystem cache operations? While these filesystem operations are not useless, I don’t see OS needing more than 4G-8G for this purpose on a dedicated DB. Also, it is recommended to use the O_DIRECT flushing method for InnoDB to bypass the filesystem cache. Example Now that we understand the primary variables allocating memory let’s check a good use case I’m currently working on. Assuming this system: $ free -m total used free shared buff/cache available Mem: 385625 307295 40921 4 37408 74865 So roughly 380G of RAM, a nice amount of memory. Now let’s check what is the maximum potential allocation considering max used connections. *A little disclaimer here, while this query is not entirely accurate and thus it can diverge from real results, we can have a sense of what is potentially going to be allocated, and we can take advantage of performance_schema database, but this may require enabling some instruments disabled by default: mysql > show global status like 'max_used_connections'; +----------------------+-------+ | Variable_name | Value | +----------------------+-------+ | Max_used_connections | 67 | +----------------------+-------+ 1 row in set (0.00 sec) So with a maximum of 67 connections used, we can get: mysql > SELECT ( @@key_buffer_size -> + @@innodb_buffer_pool_size -> + 67 * (@@read_buffer_size -> + @@read_rnd_buffer_size -> + @@sort_buffer_size -> + @@join_buffer_size -> + @@tmp_table_size )) / (1024*1024*1024) AS MAX_MEMORY_GB; +---------------+ | MAX_MEMORY_GB | +---------------+ | 316.4434 | +---------------+ 1 row in set (0.00 sec) So far, so good, we are within memory ranges, now let’s see how big the innodb_buffer_pool_size is and if it is well sized: mysql > SELECT (@@innodb_buffer_pool_size) / (1024*1024*1024) AS BUFFER_POOL_SIZE; +------------------+ | BUFFER_POOL_SIZE | +------------------+ | 310.0000 | +------------------+ 1 row in set (0.01 sec) So the buffer pool is 310G, roughly 82% of total memory, and total usage so far was around 84% which leaves us around 60G of memory not being used. Well, being used by filesystem cache, which, in the end, is not used by InnoDB. Ok now, let’s get to the point, how to properly configure memory to be used effectively by MySQL. From pt-mysql-summary we know that the buffer pool is fully filled: Buffer Pool Size | 310.0G Buffer Pool Fill | 100% Does this mean we need more memory? Maybe, so let’s check how many disk operations we have in an instance we know with a working dataset that doesn’t fit in memory (the very reason why we increased memory size) using with this command: mysqladmin -r -i 1 -c 60 extended-status | egrep "Innodb_buffer_pool_read_requests|Innodb_buffer_pool_reads" | Innodb_buffer_pool_read_requests | 99857480858| | Innodb_buffer_pool_reads | 598600690 | | Innodb_buffer_pool_read_requests | 274985 | | Innodb_buffer_pool_reads | 1602 | | Innodb_buffer_pool_read_requests | 267139 | | Innodb_buffer_pool_reads | 1562 | | Innodb_buffer_pool_read_requests | 270779 | | Innodb_buffer_pool_reads | 1731 | | Innodb_buffer_pool_read_requests | 287594 | | Innodb_buffer_pool_reads | 1567 | | Innodb_buffer_pool_read_requests | 282786 | | Innodb_buffer_pool_reads | 1754 | Innodb_buffer_pool_read_requests: page reads satisfied from memory (good)Innodb_buffer_pool_reads: page reads from disk (bad) As you may notice, we still get some reads from the disk, and we want to avoid them, so let’s increase the buffer pool size to 340G (90% of total memory) and check again: mysqladmin -r -i 1 -c 60 extended-status | egrep "Innodb_buffer_pool_read_requests|Innodb_buffer_pool_reads" | Innodb_buffer_pool_read_requests | 99937722883 | | Innodb_buffer_pool_reads | 599056712 | | Innodb_buffer_pool_read_requests | 293642 | | Innodb_buffer_pool_reads | 1 | | Innodb_buffer_pool_read_requests | 296248 | | Innodb_buffer_pool_reads | 0 | | Innodb_buffer_pool_read_requests | 294409 | | Innodb_buffer_pool_reads | 0 | | Innodb_buffer_pool_read_requests | 296394 | | Innodb_buffer_pool_reads | 6 | | Innodb_buffer_pool_read_requests | 303379 | | Innodb_buffer_pool_reads | 0 | Now we are barely going to disk, and IO pressure was released; this makes us happy – right? Summary If you increase the memory size of a server, you mostly need to focus on innodb_buffer_pool_size, as this is the most critical variable to tune. Allocating 90% to 95% of total available memory on big systems is not bad at all, as OS requires only a few GB to run correctly, and a few more for memory swap should be enough to run without problems. Also, check your maximum connections required (and used,) as this is a common mistake causing memory issues, and if you need to run with 1000 connections opened, then allocating 90% of the memory of the buffer pool may not be possible, and some additional actions may be required (i.e., adding a proxy layer or a connection pool). From MySQL 8, we have a new variable called innodb_dedicated_server, which will auto-calculate the memory allocation. While this variable is really useful for an initial approach, it may under-allocate some memory in systems with more than 4G of RAM as it sets the buffer pool size = (detected server memory * 0.75), so in a 200G server, we have only 150 for the buffer pool. Conclusion Vertical scaling is the easiest and fastest way to improve performance, and it is also cheaper – but not magical. Tuning variables properly requires analysis and understanding of how memory is being used. This post focused on the essential variables to consider when tuning memory allocation, specifically innodb_buffer_pool_size and max_connections. Don’t over-tune when it’s not necessary and be cautious of how these two affect your systems. https://www.percona.com/blog/2020/09/30/mysql-101-tuning-mysql-after-upgrading-memory/
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L’Arcadia salentina (Tommaso Perrone, Ignazio Viva, Pasquale Sannelli, Pietro Belli e Lucantonio Personè) e la peste di Messina (2/2)
di Armando Polito
Passo ora ai tre arcadi rimasti fino ad ora, almeno per me, sconosciuti.
Il primo è PASQUALE SANNELLI del quale, sotto il nome pastorale di Alfenore (probabilmente dal nome di uno dei compagni di Ulisse in Ephemeris belli Troiani, traduzione fatta nel IV secolo d. C. da Lucio Settimio di un’opera, perduta, scritta in greco da Ditti Cretese, autore del III-II secolo d. C.) sono riportati due sonetti (A e B), rispettivamente alle pagine 54 e 57.
A
Questa, che ricomporsi al fasto usato
e riprender l’onor d’alta Reinaa
del Sebetoa si mira alla vicina
sponda, è l’Italia; e tien fra ceppi il Fato.
Dal suol più adustob, e fin dal mar gelato
ciascun’Abitator sua gloria inchina.
Ceda il Trace, o s’aspetti alta rovina,
se non compie l’onor, che gli altri han dato.
Sì gran sorte serbata al secol nostro
fu per Carlo dal Ciel. Carlo ripose
lei c i nel suo stato del primier valore.
Or se industre scalpello e dotto inchiostro
serbano ad altre Età l’opre famose,
godrà l’Italia d’eternar suo Onore.
___________
a Vedi la nota b del componimento precedente.
b caldo; dal latino adustu(m)=bruciato.
c l’Italia
B
Mille cignia sublimi e mille Ingegni
volgan lor penne alla grand’opra e l’arte,
che più che ‘n marmi ad eternarla in carte
tutti ha mossi l’Idumeb i suoi disegni.
D’Orfeoc, d’Omerod in vece, i non men degni,
che onora il secol nostro in questa parte
faccian le Imprese del novello Marte
illustri e conteea’ più remoti Regni.
Io, cui fu il Ciel sì d’arte e ingegno avaro,
che non ispero aver dell’alta fronda
ornato il capo, e gir con quelli a paro,
son pur pago che Apollo ad essi infonda
tanta virtù per Carlo, ond’Ei sia chiaro
del nostro Idumef alla sinistra spondag.
___________
a poeti
b Vedi la nota a del componimento precedente.
c Mitico cantore che col suono della sua lira ammansiva le belve.
d L’aedo dell’Iliade e dell’Odissea.
e note
f Il nesso sembra un ricalco dal verso iniziale (Del re de’ monti alla sinistra sponda) del petrarchista Angelo Di Costanzo (XVI secolo), che, a sua volta, può essersi ispirato, con le dovute differenze di situazione al ponsi del letto in su la sponda manca (Petrarca, Canzoniere, CCCLIX, 3)
g Vedi nella prima parte la nota b al secondo componimento di Tommaso Perrone.
Il secondo è PIETRO BELLI (1680-1750 circa), del quale a p. 79 è riportato l’epigramma in distici elegiaci che fra poco leggeremo, mentre la nota 1 recita: Patrizio Leccese, detto tra gli Arcadi Ario Idumeneo … ci ha fatto avere il presente suo purgatissimo Componimento, posto nel presente sito, non perché questo sia il suo propio [sic, ma la forma in passato era in uso anche in testi a stampa] luogo, ma solamente perché ci perviene in questo medesimo istante, nel quale il nostro Stampatore cerca por fine alla Stampa della presente Raccolta. Nonostante qui il Belli sia utilizzato come tappabuchi, debbo dire che non mi pare affatto un intruso, perché, come vedremo, l’epigramma riguarda sempre Carlo Borbone, con riferimento alla sfera personale non privo di valenza pubblica. Prima di passare alla lettura dell’epigramma debbo dire che il Belli fu il traduttore dell’edizione napoletana per i tipi di Parrino del 1731 (testo abbastanza raro, tant’è che l’OPAC ne registra solo dieci esemplari, di cui uno custodito nella Biblioteca comunale “Achille Vergari” di Nardò) del Syphilis sive de morbo gallico di Girolamo Fracastoro. Il volume reca la prefazione di Giambattista Vico, preceduta dalla dedica del Belli a Monsignor Ernesto de’ Conti di Harrac Uditore della Sacra Ruota Romana. Tuttavia, a proposito di quest’ultima Carlantonio De Rosa marchese di Villarosa nell’edizione da lui curata degli Opuscoli di Giovanni Battista Vico, Porcelli, Napoli, 1818, a p. 7 in nota 1 scrive: Quantunque la presente dedica si vegga impressa col nome del traduttore del Poema Pietro Belli, pure da uno squarcio di essa da me ritrovato fra le Carte del Vico deducesi esserne costui stato l’Autore. Ed oltre a ciò dallo stile, e dalle cose che contiene tutte uniformi ai pensieri del Vico, chiaramente si scorge averla egli distesa interamente. E a p. 327 ulteriormente precisa: Il Signor Pietro Belli gentiluomo Leccese fu dotato a sufficienza di beni di fortuna, ed avendo contratta stretta dimestichezza con Vico l’aiutò bene spesso in urgenti bisogni … Grato il Vico al suo benefattore, ed amico si assunse la cura dell’edizione corredandola di una sua Prefazione, e distendendone anche la Dedica, del che io sono stato assicurato, avendo fra le Carte autografe di Vico ritrovato anche il principio di tale lettera dedicatoria scritta di suo carattere. Tradusse il Belli anche il Satyricon di Petronio, e scrisse molti altri Poetici Componimenti, le quali produzioni sono ite a male. Morì verrso la metà del secolo passato.
Per quanto riguarda il nome pastorale, se Ario potrebbe essere dal latino Ariu(m), a sua volta dal greco ᾿Αρεύς (leggi Arèus), nome di due re di Sparta (meno bene, perché poco confacente ad un arcade, dal greco Ἄρειος, leggi Àreios, =di Marte, marziale, Idumeneo è certamente connesso con Idomeneo per quanto detto nella prima parte nella nota b al componimento A di Tommaso Perrone.
Praesagium
Ad Amaliam
Da Natum Mundo tandem, Regina precanti,
cum Patre, qui regnet, iam seniore, senex.
En quot regna fili Pater,et quot sceptra paravit,
et quot, vincendis hostibus, arma parat.
Nascere, parve Puer, sed maximus inde futurus,
nascere cunctorum maxime, Patre minor.
Presagio
Ad Amaliaa
Dà, di grazia, o Regina, un figlio al mondo che lo chiede,
che regni vecchio insiemecol padre ancora più vecchio.
Ecco quanti regni e quanti scettri del figlio il padre ha apprestato
e quante armi prepara per vincere i nemici!
Nasci, fanciullo piccolo ma destinato poi a diventare grandissimo,
nasci, o il più grande di tutti, minore del padre.
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a Amalia di Sassonia (1724-1760), moglie di Carlo, regina consorte di Napoli e Sicilia dal 1738 al 1759 e di Spagna dal 1759 fino alla morte.
L’ordine di entrata, dicono, è importante e il primo e l’ultimo posto sono i più ambiti; per questo chiudo con l’ultimo arcade ritrovato, mio compaesano, LUCANTONIO PERSONÈ di Nardò, che va ad unirsi ad Antonio Caraccio, del quale mi sono occupato a più riprese1. E, per fare le cose come si deve, riproduco in formato immagine il suo componimento.
DI D(ON) LUCANTONIO PERSONÈ
Barone di Ogliastroa, tra gli Arcadi
Alcinisco Liceanitideb
Menic i giorni ciascun lieto e sereno
più che non feo nell’aurea età d’Augustod
il Popol di Quirinoe omai vetustof,
della cui gloria il vasto Mondo è pieno.
Poiché sul Trono del sicano adustog,
di Partenopeh bella accolto in seno,
regna il gran Carlo di virtù ripieno
e di trionfi e d’alte spoglie onustoi.
E tempo è già che la Regal Sirena
rimembril i pregi avitime il priscon usatoo
verso ripigli col suo dolce canto,
or chè rimbomba in questa Piaggiap amena
il nome del gran Carlo in ogni lato,
fugati i mali, e già sbanditoq il pianto.
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a Antico feudo di Nardò. Vedi Marcello Gaballo, Vicende della masseria e del feudo di Ogliastro in https://www.fondazioneterradotranto.it/2010/04/28/vicende-della-masseria-e-feudo-diogliastro/
b Per Alcinisco il riferimento potrebbe essere al greco Ἀλκίνοος (leggi Alkìnoos)=Alcinoo, il mitico re dei Feaci, con aggiunta del suffisso diminutivo -ίσκος (leggi –iscos); Liceanitide potrebbe essere connesso con il greco Λύκειος (leggi Lùkeios)=della Licia, epiteto di Apollo.
c trascorra
d più di quanto fece durante l’età dell’oro al tempo di Augusto
e il popolo romano; Quirino era il dio romano protettore delle curie.
f vecchio
g siciliano bruciato (dal sole). Per sicano vedi nella prima parte la nota t al primo componimento di Tommaso Perrone; per adusto vedi anche la nota b al primo componimento di Pasquale Sannelli.
h Metonimia per Napoli. Partenope era una delle tre sirene (le altre erano Ligeia e Leucosia) che si suicidarono buttandosi in mare e tramutandosi in scogli, perché battute nel canto da Orfeo secondo una tradizione, per non essere riuscite ad ammaliare Ulisse secondo un’altra. Ad ogni modo, Partenope finì alla foce del Sebeto e lì sarebbe stata fondata Napoli.
i carico
l ricordi
m degli avi, antichi
n antico
o abituale
p paese
q messo al bando, esiliato
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1 Vedi https://www.fondazioneterradotranto.it/2019/09/17/gli-arcadi-di-terra-dotranto-7-x-antonio-caraccio-di-nardo/
https://www.fondazioneterradotranto.it/2019/09/07/antonio-caraccio-di-nardo-e-le-sue-ecfrasi/
https://www.fondazioneterradotranto.it/2014/11/06/antonio-caraccio-nardo-1630-roma-1702-note-iconografiche/
Per la prima parte: https://www.fondazioneterradotranto.it/2020/04/13/larcadia-salentina-tommaso-perrone-ignazio-viva-pasquale-sannelli-pietro-belli-e-lucantonio-persone-e-la-peste-di-messina-1-2/?fbclid=IwAR36ToHbAWsBK3BlP0zscMfqWEStp6PD5hmmZX4DT-vcMXV_1eWFBrvMLdI
#Alcinisco Liceanitide#Arcadi di Terra d'Otranto#Arcadi salentini#Ario Idumeneo#Armando Polito#Ignazio Viva#Lucantonio Personè#Pasquale Sannelli#Pietro Belli#Tommaso Perrone#Libri Di Puglia#Spigolature Salentine
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Io ti prego di ascoltare quello che dirò sono sempre stato in viaggio ormai non penso che ti incontrerò ti credevo nel mio cuore e non credo più qualche volta mi è sembrato di sfiorarti ma non eri tu Io ti prego di ascoltare non andare via io continuo a dubitare non so più qual’è la strada mia cosa è bene e cosa è male quasi non so più tanto sembra tutto uguale in questo mondo se non ci sei tu Quell’amore più forte di tutte le nostre infedeltà quell’abbraccio purissimo che come sempre mi salverà perché tutto sai sta morendo in me senza te Io ti prego di ascoltare sono triste sai non mi piace la mia vita questa vita che non cambia mai dimmi cosa devo fare o non fare più né volare né affondare hanno senso se non ci sei tu Quell’amore più forte di tutte le nostre infedeltà quell’abbraccio purissimo che come sempre mi salverà perché tutto sai sta morendo in me senza te Io ti prego di ascoltare tu dovunque sei ti ho cercato in ogni modo vedi non mi sono arreso mai non lasciarmi naufragare non fuggirmi più quella luce che ora vedo in lontananza dimmi che sei tu. (Guido Morra) #sanremo #sanremo41 #sanremo91 #sanremo1991 #festivaldisanremo Brano: Io ti prego di ascoltare Immagine: Suora in preghiera - Martin van Meytens - 1731 https://www.instagram.com/p/B-2ErV4FL3x/?igshid=u8y7ydlwwl5e
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Come aggiungere una firma digitale a un PDF !!
Come aggiungere una firma digitale a un PDF !! #MAgodelPC #FirmaDigitale #FirmaPDF #SignDigital #SignPdf #AdobeAcrobat #FirmaDocumentoDigitale #SignDigitalDocuments #Signall #Android #iOS #AdobeAcrobatReader #Tablet #PdfSmartPhone #TabletPDF
Vi propongo una pratica guida di come aggiungere una firma digitale a un Pdf, vi spiegherò come farlo sia su PC, che su Tablet e Smartphone.
Come faccio a firmare un PDF?
Oggi Adobe Acrobat Reader vi permette non solo di visualizzare e firmare i PDF, ma non solo permette anche di annotare i file Pdf, anche utilizzando Adobe Reader che è gratuito vi è la possibilità di aggiungere una firma…
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#MAgodelPC#adobe pdf#AdobeAcrobat#Android#crea firma digitale#FimarePDF#Firma Digitale#Firmare Documenti digitali#pc#PDF
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Sognare Insieme ha presentato un progetto viabilistico sul Buon Gesù con assetto senza impianti semaforici. Inoltre propone una data in Maggio per recuperare la Sagra di San Giulio non disputata all'interno della Patronale 2019. Termina con una richiesta di accesso agli atti sull'incontro tecnico Provincia - Ecosis s.r.l.
1) Mozione sul Buon Gesù
Oggetto: Mozione per valutare il progetto, allegato, per una soluzione viabilistica adeguata alla sicurezza delle persone, con soluzione di attraversamento pedonale nel quartiere del Buon Gesù, superando la classica forma circolare della rotatoria, con un sistema composto da un corpo centrale allungato e una serie di satelliti per differenziare i percorsi e renderli più fluidi.
Con entusiasmo passione e spirito di servizio alla comunità, il gruppo consigliare “sognare insieme Castellanza” accoglie positivamente l’appello del Sindaco per una collaborazione attiva e partecipata per “…ragionare insieme rispetto a quali attività, quali azioni e quali progetti si possano portare avanti per il bene di Castellanza e dei Castellanzesi…”.
valutare il progetto, allegato, per una soluzione viabilistica adeguata alla sicurezza delle persone, con soluzione di attraversamento pedonale nel quartiere del Buon Gesù, superando la classica forma circolare della rotatoria, con un sistema composto da un corpo centrale allungato e una serie di satelliti per differenziare i percorsi e renderli più fluidi.
Certo che la mozione verrà inserita e discussa nel prossimo Consiglio comunale.
••••••••••••••••••••••••••••••••••••••••••••••••
2) Mozione Fiera
Oggetto: Mozione per decidere che nella terza Domenica di Maggio si organizzi il mercatino con le bancarelle della fiera San Giulio, in questo periodo primaverile si possono garantire le condizioni di sicurezza e incolumità fisica delle persone.
Con entusiasmo passione e spirito di servizio alla comunità, il gruppo consigliare “sognare insieme Castellanza” accoglie positivamente l’appello del Sindaco per una collaborazione attiva e partecipata per “…ragionare insieme rispetto a quali attività, quali azioni e quali progetti si possano portare avanti per il bene di Castellanza e dei Castellanzesi…”.
Pertanto, con la presente mozione, il sottoscritto consigliere Michele Palazzo a nome e per conto del gruppo di sognare insieme Castellanza, darà ascolto e voce ai suggerimenti dei cittadini, chiedendo
che il Consiglio comunale si pronunci e solleciti l’amministrazione comunale Sindaco e Giunta ad attuare il seguente orientamento:
decidere che nella terza Domenica di Maggio si organizzi il mercatino con le bancarelle della fiera San Giulio, in questo periodo primaverile si possono garantire le condizioni di sicurezza e incolumità fisica delle persone.
Certo che la mozione verrà inserita e discussa nel prossimo Consiglio comunale.
••••••••••••••••••••••••••••••••••••••••••••••••
3) Richiesta copia verbale incontro tecnico Ecosis
Oggetto: richiesta copia semplice
Io sottoscritto Consigliere Comunale Michele Palazzo, della lista civica “Sognare Insieme Castellanza”, con riferimento all’oggetto
Chiedo
copia semplice dei seguenti documenti: prot. 1731/19- Provincia di Varese- Ecosis S.r.l. Verbale incontro tecnico
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Poesia #5 Anna Andreevna Achmatova - l'umano contatto
Poesia #5 Anna Andreevna Achmatova – l’umano contatto
Forse non siamo capaci di amare proprio perché desideriamo essere amati, vale a dire vogliamo qualcosa dall’altro invece di avvicinarci a lui senza pretese e volere solo la sua semplice presenza.
Milan Kundera
In questo periodo abbiamo capito quanto il contatto, la presenza, la vicinanza possano essere importanti nella nostra vita. A dire la verità, io sono stata fortunata. Tutti coloro che…
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#Anna Andreevna Achmatova#editing#editor#editorgloriamacaluso#editoria#esserepoeti#libridipoesia#Poesia#poesia900#poesiadellottocento#poetesse#poeti#scritturacreativa#scriverepoesia
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Finding your Compass

About the Author
Enrico – Explorer of Inner Worlds, Student of Hermetic Wisdom
Enrico writes from the edges of the known and the whispers of the forgotten.
A lifelong seeker of truth beyond the visible, Enrico draws inspiration from ancient hermetic teachings, the silence of the forest, and the unspoken questions that live in the hearts of wanderers. His work invites readers to pause, question, and rediscover the hidden compass within.
His books are not guides—they are mirrors, keys, and sometimes riddles.
Enrico has walked the corridors of organized belief, only to step beyond them into the untamed landscapes of the self. Whether sitting with old texts under flickering candlelight or walking nameless streets in search of the unsaid, he continues to explore the spaces where inner wisdom meets everyday life.
Enrico prefers questions over answers, shadows over certainties, and invites readers to do the same.
Qn 1: Can you tell us more about your book What is it about?
You’ve always had a compass…
There’s a part of you that already knows what’s true —
not the voice of guilt, fear, or obedience… but the deeper knowing beneath it all.
Finding Your Compass is a powerful call back to your inner authority.
Not a doctrine. A remembering.
If you’ve ever felt out of step with what you were told to believe —
if you sense there’s more to life than following borrowed truths —
this book is your turning point.
No preaching. No pressure.
Just a clear path back to what’s always been yours:
Clarity. Peace. And the courage to trust yourself.
Qn 2: Who do you think would be interested in this book, is it directed at any particular market?
Yes - it is specifically helpful for readers disillusioned by Christianity and religion but still believing in a higher power. It is an outstanding self-help book for spiritual growth,
Qn 3: Out of all the books in the world, and all the authors, which are your favourite and why?
Kahlil Gibran - a real mystic who was able to better observe the unwritten laws of the universe than anyone else.
Qn 5: Where can our readers find out more about you, do you have a website, or a way to be contacted?
Best to contact me on my YouTube channel
Read More Interviews
Source: Finding your Compass
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https://recepti-kuvar.rs/da-li-je-vas-recept-za-vanilice-najbolji/
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“E l’Onnipotente ha fatto me come suo contrario”: Blake e Cowper, due anime sull’orlo del precipizio, poeti tanto eccelsi da meritarsi il manicomio
Il protagonista eccellente dell’avanguardia della poesia romantica, specchio sulle più eclatanti angosce moderne, ha tentato di uccidersi quattro volte. L’uomo che tentò di darsi la morte e che spianò la via di una nuova parola poetica alla ricerca del sé, è l’uomo in cui (insieme a Milton) William Blake vide Dio “più che nei principi e negli eroi”, sebbene poi sia lo stesso uomo che Blake utilizzò anche come simbolo del suo Spettro. L’uomo in cui il poeta riconobbe Dio è l’uomo che, a sua volta, si sentì rinnegato e dannato da Dio per tutta la vita: e che quindi fu, in effetti, lo Spettro.
Il poeta la cui frattura con Dio, e con gli uomini, fu talmente devastante da fargli tentare il suicidio per quattro volte, scoprì la nuova fragilità dell’uomo rimasto senza punti di riferimento, indagando tra disperazione ed estasi, nuove opportunità, o necessità, di ritrovare interiormente ciò che si era perso all’esterno. Quest’uomo evidenziò, senza saperlo, l’elemento fondante dell’uomo moderno che così tanto si allontanò dall’uomo antico: la ricerca interiore. Proprio quando la necessità di trovare nuovi riferimenti ha creato il modello individualista dell’uomo eroe, che col produrre annienta lo spirito ma domina gli eventi, accade che nello stesso uomo materialista si insinui il tarlo peggiore, il peggior nemico, la sua eterna dannazione, cui il nostro poeta servì da esempio, e monito, con la propria imprescindibile dannazione (mettendoci non solo la faccia, ma la vita): l’introspezione, la ricerca dell’anima, il sottosuolo, e in fin dei conti, la psicologia.
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Esistono diversi ritratti di William Cowper: questo è di George Romney, 1792
William Cowper (1731-1800) è stato un poeta così eccelso da meritarsi il manicomio, almeno due anni per manifesta incapacità di stare nel mondo (soprattutto quello in cui lo costringeva il reverendo padre, metodista) che in effetti pareva l’unico possibile per la salvezza, cosa che il poeta fu certo di non ottenere mai, morendo convinto di essere un dannato. Blake fece dodici ritratti di Cowper, e l’unica incisione esistente di sua madre, morta quando lui aveva sei anni. A questa prima tragedia seguirono molti anni di collegio in cui il poeta fu violentemente bullizzato, e anche se imparò latino e greco, e i classici, ne evinse una sensazione di solitudine e abbandono che non gli avrebbe lasciato scampo, soprattutto in una realtà in cui solitudine e abbandono erano la normalità. Cowper scrisse moltissimo, ma ebbe successo soprattutto, o soltanto, per il suo capolavoro The Task, poema cominciato per una sfida lanciatagli da Lady Austen (con cui ebbe un rapporto estremamente conflittuale), che lo invitò a fare un poema su un “divano”, probabilmente senza ben comprendere chi avesse davanti: quel poema, nato forse da un capriccio, divenne un capolavoro poetico, di sei libri e circa 5000 versi, di cui Blake fece alcune illustrazioni. Questo comunque non bastò all’autore per ottenere l’autosufficienza materiale, né tantomeno per non considerarsi, ed essere da più parti considerato, un fallito.
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I temi più cari a Cowper prendono nel poema la loro forma definitiva: l’arroganza senza senso del mondo, la violenza della schiavitù, la solitudine in cui tutti siamo abbandonati perché il mondo nuovo non la vuole riconoscere; e soprattutto l’insicurezza, la fragilità (che precorreva il dramma di tre secoli di individualismo come panacea di ogni male) di un popolo che con l’Impero aveva perso l’anima – da cui la domanda imprescindibile se fosse possibile non trovarla ma cercarla ancora.
Cowper parla già di consumismo e di nuovi imperi commerciali che si stanno costruendo sul sangue. Non esiste un matrimonio possibile tra industrializzazione e anima, e la sofferenza che ne deriva caratterizzerà ogni uomo che nascerà dopo la grande Sfida di (ri)trovare questa anima – sfida persa, probabilmente, ma costantemente in atto. Man mano che il poema procede, Cowper si allontana dalle città, e da ciò che rappresentano per il suo spirito ormai martoriato, e si rifugia nella natura, sia fisicamente che spiritualmente.
The Task (dal libro 1)
Pochi fiori reggono da soli il vento restando incolumi, ma necessitano del sostegno del puntello liscio e legato con cura. Restano così uniti, come la bellezza alla vecchiaia, per amore, i vivi e i morti. Alcuni rivestono il terreno che li nutre, spargendosi ovunque e crescendo umili, modesti e anche discreti, come la virtù… Tutti invece odiano la marcia società delle erbacce, sgradevole e mai sazia di annientare la terra dilapidata.
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Si è dibattuto a lungo sulla follia di Cowper, come d’altronde su quella di Blake; domandandosi da più parti se essa stesse nel cercare Dio, nell’averlo trovato o non trovato, se fosse inevitabile per esseri spirituali incapaci di rapportarsi alla realtà, o se la necessità di creare, e quindi di posizionare Dio, infine, dentro se stessi, non fosse in fondo l’inevitabile genoma della pazzia: divenendo mania di grandezza in Blake e mania di persecuzione in Cowper.
Blake non ha mai accettato questa domanda: “Tu puoi sinceramente dire che io sono pazzo?”. Non permetteva a nessuno di avere una risposta facile: se non si potevano provare le sue visioni, non si poteva nemmeno provare la sua follia, e mai si scoraggiò, arrivando a cantare, pare, sul letto di morte, inni di gioia e trionfo, ma sentendo sicuramente per tutta la vita, la mano di Dio sulla spalla. Non così fu per Cowper, che di Dio sentiva la maledizione.
Nell’interpretazione di Blake, la psiche umana si suddivide in quattro principi fondanti: Umanità, Emanazione, Ombra e Spettro. Lo Spettro, emanazione di Urizen, è l’incarnazione della ragione che ha perso la spiritualità, dunque della ragione che diventa imposizione, violenza e sopraffazione.
L’uomo caduto ha bisogno del mondo materiale, per frenare la caduta, ma per riconciliarsi con la propria umanità che racchiude l’anima, deve servirsi dell’immaginazione. La vita stessa deve essere una frenata della caduta e il potere immaginativo, Urthona, simbolo anche della donna, è caduto sulla Terra attraverso la “parola”. In Jerusalem, lo Spettro è proprio un calvinista che si sente dannato da Dio ed è destinato a soffrire per sempre. È evidente il richiamo a Cowper e alla sua terribile frattura interiore, così chiara a Blake che lo riteneva accompagnato dagli Spiriti (Angelici) che possono circondare soltanto un uomo di luce, intanto che vedeva la lotta incessante che lui compiva ogni giorno contro il mondo creato da quella razionalità disumana, che lo stava distruggendo.
I venti ululano, mi guidano subdoli scossi dalla tempesta le vele si strappano aprendo larghi squarci nelle cuciture e la bussola è perduta Giorno dopo giorno, una certa forza contrastante mi costringe più lontano dalla rotta del successo
È la poesia che Cowper negli ultimi anni della sua vita dedicò alla morte della madre, rivelando il terribile dialogo che il poeta si è sempre portato dentro e non ha mai avuto paura di esprimere, un dialogo difficilmente ipotizzabile e profondamente incomprensibile nel suo tempo: quello con sé stesso.
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È dunque davvero la parola la più importante forma spirituale sulla Terra, per i due più importanti poeti pre-romantici?
Né Cartesio, né Hegel hanno affrontato il problema della scrittura. Il luogo di questo combattimento e crisi si chiama diciottesimo secolo – scriverà Jacques Derrida.
Questo concetto si può ampliare, perché il problema della scrittura, aperto in quel secolo e mai sanato, è anche il nuovo problema dello spirito.
Al dilemma interiore Cowper non trova alcuna risposta nella comunità, nella fede condivisa, e tantomeno, da Avvocato, nelle leggi, e in alcun modo nella morale.
La fiammata che stralcia il diciottesimo secolo, e che ancora oggi incombe su di noi, pone la questione se il tentativo di entrare nella vita immaginativa, faccia inevitabilmente impazzire.
La poesia cambia indissolubilmente legata al cambiamento dell’uomo. Entrare nell’immaginario, nel sentire, e cercare lì la risposta a ogni perdita definitivamente compiuta, è elemento imprescindibile dell’avvento del maudit, ma non può ridursi a un’interpretazione di necessaria alienazione.
Fino al diciottesimo secolo l’anima è rimasta un problema appannaggio dei religiosi, mentre ora, proprio per questi uomini, per questi primi poeti alla ricerca di Dio, l’anima è la scoperta del dramma, tutto umano, della ricerca interiore delle certezze perdute. Più lo standard di vita materiale si elevava, più il costo dell’integrità immaginativa e spirituale era alto (Adam Smith parlava già di automi); così, più la disgregazione avveniva inesorabile, più l’interiorità diventava importante, proprio laddove il nuovo eroe materialista e narciso avrebbe dovuto annientarla.
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William Cowper secondo Blake, in una tempera realizzata dopo il 1790, ora alla Manchester Art Gallery
Non si giudichi il Signore con l’umana ragione – scriveva Cowper, da cui l’interrogativo agghiacciante: e dunque, con cosa? La paura della dannazione non è forse la paura del nuovo sistema sociale e il terrore di restarne esclusi, non accolti dal Dio-sistema, trasformatosi in un mostro così cattivo? E quello che introduce Cowper non è forse il più moderno concetto di psicanalisi? Il nuovo eroe si deve imporre sul mondo interiore, che mai era esploso con così tanta potenza.
Nel sottosuolo che Cowper osò esplorare, come ogni degno esploratore, perse la vita. Nel ’700 si fa prepotentemente strada un nuovo concetto di natura, con Cartesio e Locke la natura perde il suo ruolo di grande madre e diventa la culla del meccanicismo.
Nel mondo antico l’introspezione aveva il carattere della confessione, non del conflitto. C’era un equilibrio col mondo esterno, perché c’era equilibrio con la natura; tutto si risolveva nella saggezza, nella virtù, e c’era ben altra accettazione del fato e della morte, considerati elementi imprescindibili, di cui l’uomo non doveva sentirsi padrone, e che per più versi nemmeno temeva, ma solo sereno compagno nelle stesse mani generose della natura.
L’eroismo e la santità erano a loro volta i più degni compagni della morte: il materialismo e la meccanica trasformarono invece, con velocità sorprendente, l’eroe e il santo in coloro che la morte annientano e la natura dominano. La strada verso l’individualismo come nuova potenza divina è irrevocabile: l’eroe della vita spirituale diventerà un folle, al posto del saggio, l’inetto alla vita materiale diventerà il reietto, al posto del santo. Ma l’eroe produttivo nasconderà sempre in sé la fragilità del sentire, dell’immaginare, del cercare, del disperato bisogno di un’anima, che perduta la collocazione, non è possibile ritrovare. Non ci vorrà molto a individuare il nuovo mostro in questa esigenza: la strada per la maledizione dell’uomo moderno e per la paralisi emotiva, così come per la depressione e per la disumanizzazione meccanica, è spianata.
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Cowper, che si sentiva dunque dannato e fallito, giacché non riusciva a trovare la sua posizione all’interno di un contesto sociale che aborriva, e da cui divenne definitivamente terrorizzato, ebbe la forza per momenti di entusiasmo spirituale e contemplativo propri della sua scrittura poetica, quella per cui Blake vedeva l’emanazione divina. Blake rifletterà sempre la propria sofferenza in Cowper, come uomo che crede nell’ispirazione ma sa che l’ispirazione non può essere provata: entrambi, nonostante il successo di The Task per Cowper, saranno sempre trattati con un vago sentore di condiscendenza, e comunque considerati affetti da una follia, che se li faceva scrivere bene, non avrebbe mai permesso loro di essere uomini completi. L’aberrazione era compiuta: a cosa serviva, a quel punto, scrivere bene?
Cowper è profondamente consapevole della pochezza spirituale del mondo in cui vive. Sarà capace di immani slanci poetici e di grande umorismo, così di satira con cui si fa beffe delle meschinità umane, anche se in lui non ci fu mai fatua leggerezza. È un poeta sul ciglio del burrone e ride solo nel momento in cui sta precipitando.
Se Blake rivendicherà il diritto alle proprie visioni, Cowper ne avrà invece orrore e individuerà in esse la conferma delle ragioni del mondo, quelle stesse che lo schiacciava. Non troverà mai Dio nella ragionevolezza, né nei doveri della morale e della fede calvinista, meno ancora nelle imposizioni sociali necessarie per ottenere il gradimento di Dio. Tuttavia, invece che scorgere in questa impossibilità la dinamica dell’errore materiale, si convinse di essere sbagliato lui, cosa che non accadde a Blake, e per cui Blake si rammaricò sempre: era una vera sofferenza per lui accettare che proprio l’uomo circondato di luce, la cui penna si intingeva in quell’anima perduta e per talento ritrovata, non capisse di aver trovato Dio.
Per Cowper il Dio Urizen, la legge cui lui disattendeva, puniva la sua creatività, la stessa creatività in cui Blake era certo si celasse Dio.
L’immaginazione per Blake crea lo stimolo, che genera l’entusiasmo che inibisce la depressione: è qui lo snodo della ragione. A seconda di come si svilupperà il suo rapporto con la creatività, la nostra completezza sarà o meno possibile: per stare bene bisogna avere un entusiasmo, e da qui si può sviluppare l’infinità dell’essere.
Lo Spettro dunque, si portava dentro Dio. Esattamente come l’uomo materiale si porta dentro quello spirituale, come una condanna o una liberazione.
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Vive e lavora un’anima in tutte le cose e quell’anima, è Dio
Scrive così Cowper, proprio lui che trovandola si perde ogni giorno di più.
Lo Spettro infatti consuma, la sfera pratica degrada il valore umano, gli eccessi e le prevaricazioni disumanizzano, il privilegio della ragione narcotizzante non può essere la risposta, le ombre si impossessano del genio romantico, perché gli spettri offuscano la luce.
E in tal senso parla lo Spettro di Blake in Jerusalem:
Ora la mia pena peggiore, impossibile da essere superata, ma che ogni istante accumula e accumula afflizione, accumula per l’eternità! La gioia del Signore è per chi è retto, non per un essere da compatire, che si sente pieno di angoscia,
lui nutre sacrificio e offerta, deliziandosi fra pianti e lacrime, e vestito di santità e solitudine, invece le mie pene avanzano, senza fine e per sempre!
Oh potessi smettere di vivere! Angoscia! Io sono una creatura disperata creata per essere il migliore esempio di orrore e agonia, anche la mia preghiera è vana, ho implorato compassione, compassione derisa misericordia e compassione gettano su di me la pietra tombale e con ferro e piombo la inchiodano per sempre intorno a me la vita trascorre nel mio struggermi e l’Onnipotente ha fatto me come suo contrario perché io fossi un diavolo completo tutto opposto e per sempre morto conoscendo e vedendo la vita ma senza viverla come potrei vedere e non tremare come potrei essere visto e non aborrito!
E quella stessa disperazione verso un giudice implacabile, verso lo Spettro, nel cui petto avrebbe voluto nascondersi, ma da cui si sentiva respinto senza alcuna pietà, Cowper la scriveva perfino sulle finestre:
Io miserabile! Come potrei scappare dalla infinita collera divina e dall’infinita disperazione se Morte, Terra, Paradiso e Inferno di cui fu amico Dio sono ormai in macerie, quel Dio che giurò che non avrebbe mai aiutato me
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William Cowper in un ritratto canonico di Lemuel Francis Abbott, 1792
Benché abbia aiutato William Hayley a scrivere la biografia di Cowper, Blake non risparmierà dure critiche verso di lui, da cui si sentì sempre in qualche modo denigrato, e che riteneva non valorizzasse a fondo Cowper. Riteneva che il biografo non vedesse come il poeta consumasse la sua anima nella Profezia, e al contrario cercasse in lui solo una malattia confusa, per cui sarebbe stato necessario che un editore lo prendesse in considerazione per dimostrare che c’era del vero nei suoi stravaganti proclami. Non sopportava che fossero richieste le prove del loro sentire, e voleva che il giudizio delle loro opere fosse lasciato ai posteri.
Sul suo primo attacco depressivo, che avvenne a seguito della necessità di una prova pubblica per entrare alla Camera dei Lord, Cowper scrisse:
Fui vessato da una tale alienazione dello spirito, come nessuno, se non l’ha provata, può nemmeno immaginare. Giorno e notte ero nelle torture; mi addormentavo in preda all’orrore, e mi svegliavo nella disperazione. Poi persi ogni gusto per lo studio, che prima mi pareva così importante, i classici non mi affascinavano più; non potevo più accontentarmi delle distrazioni, avevo bisogno di altro, ma nessuno sapeva dirmi dove trovarlo.
Il nuovo uomo è solo. È la caratteristica che si evince maggiormente dall’alienazione di una ricerca infruttuosa che ancora oggi non trova risposta. Il silenzio di Dio lo annichilisce, Cowper gli chiederà di dirimere il suo dubbio, di spaccargli il cuore se necessario, ma la risposta non arriverà, o almeno, il poeta non la scorge, e morirà convinto della dannazione eterna.
E i diversi giudizi servono solo a rendere evidente che la verità da qualche parte esiste. Se solo sapessimo dove.
I versi sono tratti dalla poesia Hope, lungo poema che illumina, anticipando The Task, i rari momenti di felicità contemplativa del poeta: la luce degli Spiriti, secondo Blake, che soli possono salvare l’uomo; il fallimento materiale che lo faranno dannare per sempre, secondo l’autore. L’immaginazione, che dà accesso all’ideale e al bello, è superiore a ogni altra forma di produzione. Cowper considera il compito dello scrittore, che il mondo potrebbe considerare mera pigrizia, come l’impresa più importante di tutte, perché ha l’ufficio di recuperare e mantenere viva nelle persone la consapevolezza umana, la saggezza. Ma questo sembrava non bastare: fu infatti implacabile nel punire sé stesso, proprio per avere vocato la sua intera vita, a tale compito.
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Hope è un poema antecedente a The Task che si snoda in più di 700 versi, di cui riporto la mia traduzione della parte iniziale perché la composizione gioca un ruolo fondamentale nell’evidenziare la luce che stralcia lo Spettro nell’anima martoriata di Cowper, che aveva ossessionato Blake proprio per la sua natura divina, e non per la sua così facilmente sbandierata, dai contemporanei, inettitudine, ridotta a una mera esercitazione di follia. In effetti in nessuno dei due poeti ci fu mai propensione verso la maledizione intesa nel senso moderno di auto-distruzione: i tentati suicidi di Cowper restarono sempre senza esito, e che sia stato un caso o meno, è certo che una resistenza alla morte dannata, l’autore la esercitò con determinazione impressionante, attraverso la poesia, dimostrando che in qualche modo entrambi cercavano la salvezza, la luminosità in vita e, appunto, la speranza di una diversità possibile.
Questo poema dimostra quanto Blake avesse ragione; è il luogo dove, se non si incontrarono mai fisicamente, finalmente i due poeti si incontrano interiormente, al cospetto dell’amore, del Dio, della completezza ritrovata, o meglio dell’anima, in quell’antro dello spirito che ne è la più forte emanazione: la poesia.
Hope
E che cos’è la vita umana – replica il saggio abbassando con sconforto gli occhi un doloroso passaggio in un incessante scorrere un vano perseguire inafferrabili falsi beni una recita di illusoria felicità e di accorata preoccupazione che conduce all’oblio nell’oscurità e alla dissolvenza
Il poverino, assuefatto al duro lavoro e all’afflizione, in nessun luogo se non nell’immaginare scene di Arcadia, aveva assaporato la gioia, o percepito il senso del piacere
La ricchezza scivola via di mano in mano come la fortuna, i vizi, o il delirio di poter comandare come quando in una danza,
la coppia che conduce deve inchinarsi e così trionfa la coppia più miserabile allo stesso modo, è mutevole e casuale, il dipanarsi della nostra vita per questo il Paradiso regola i disordinati accadimenti degli uomini e le vicissitudini fanno girare la ruota rimescolando tutto fra le genti
I ricchi diventano poveri, i poveri si fanno orgogliosi della propria ricchezza gli affari sono un lavoro e la debolezza dell’uomo è tale che perfino il piacere diventa un lavoro e ci rende molto stanchi, la sua stessa essenza ne sconsiglia l’abuso siccome la ripetizione lo annoia, e l’età lo smussa
Deploriamo la gioventù dissipata in spreco che nessun sospiro risana nel triste scampolo di vita che resta
I nostri anni, una sfida sterile senza alcun premio, Troppi, ma troppo pochi per renderci saggi.
Dondolando intorno il suo bastone mentre prende il tabacco, Lothario piagnucola: “Che roba filosofica! Come sei lamentoso e debole! Con un cervello inetto, che un tempo non pensava a niente, e ora pensa invano; con un occhio riverso nel pianto su tutto il passato, la cui promessa ti mostra una lunga serie di deprimenti sprechi; se maturasse in te rinuncerebbe al suo fosco regno, e la giovinezza ravviverebbe ancora quella forma, il desiderio rinnovato allieterebbe con altre parole, le gioie sono sempre apprezzate, quando le possiamo raggiungere
Per rialzare la tua testa paralizzata, liberati delle tenebre che pervadono i limiti della tua tomba, guarda la natura gioiosa, come quando per prima cominci con sorrisi a sedurre l’uomo suo ammiratore; al mattino si riversa sulle colline d’Oriente e la Terra scintilla con le gocce che la notte distilla; il sole ubbidiente al suo richiamo appare per diffondere la sua gloria sul vestito che lei indossa; le rive sono agghindate di fiori, i boschetti sono riempiti di suoni allegri, i grani dorati, i prati verdi, le rocce, i terreni che si gonfiano, i torrenti circondati dai salici donano fertilità ai campi fluendo tra le curve ora visibili ora nascosti dall’orizzonte blu, dove cieli e montagne si incontrano, giù fino al manto erboso sotto i tuoi piedi
Diecimila incantesimi, che solo gli sciocchi disprezzano, o che solo l’orgoglio può osservare con occhi indifferenti, tutto parla un’unica lingua, tutto con una sola dolce voce urla al suo regno universale, esulta!
L’uomo sente lo sprone di passioni e desideri, e lei dona immensamente più di quanto lui richieda; non che le sue ore tutte votate all’impegno, portino astinenza all’occhio svuotato e magra disperazione, il disgraziato potrebbe struggersi, mentre per il suo olfatto, gusto e vista, lei contiene in sé un paradiso di esultanza infinita, ma con gentilezza, per rigettare ogni sua assurda paura, e dimostrare che ciò che lei dona lo dona sinceramente, bandendo ogni esitazione e rivelando che la felicità dell’uomo le è cara, ed è il suo unico intento.
Questa tomba è il sogno più assurdo della filosofia, che le intenzioni del Paradiso non siano quelle che appaiono, che solo ombre siano dispensate quaggiù, e la terra non abbia altra realtà che il dolore.
Il poeta distrutto dal mondo, nel mondo poetico si ricompone e trova la felicità, lasciando che la sua insaziata dannazione, avvenga altrove, e in un altro tempo.
Francesca Ricchi
L'articolo “E l’Onnipotente ha fatto me come suo contrario”: Blake e Cowper, due anime sull’orlo del precipizio, poeti tanto eccelsi da meritarsi il manicomio proviene da Pangea.
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Cagnacci esposto in osteria! Per tutti è una figata (compreso uno Sgarbi felliniano), per me è una boiata pazzesca. In ogni caso, sul geniale pittore ha scritto tutto Alberto Arbasino
Io non so nulla, sento solo puzza di bruciato, vedo tanto fumo verbale e perfino l’arrosto retorico, purtroppo. Soprattutto, non mi piacciono gli intellettuali titanici che scodinzolano intorno all’imprenditore-principino, all’interessato mecenate.
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Penso d’essere l’unico, nell’alcova giornalistica, a impiccarsi con un interrogativo. Possibile che a nessuno sembri una inesorabile ca**ata? Per carità, io sono sempre il più cretino di tutti. Mi riferisco alla notizia divulgata come “Guido Cagnacci. Ritorno a Santarcangelo”. In realtà, Cagnacci non entra in un museo – che non dovrebbe essere il mausoleo del morto, ma il sacrario del meraviglioso. Va in osteria. Torna a Santarcangelo, certo. Ma nel ristorante di un privato. Alla prima mi metto a ridere. Sono cretino, avrò capito male. Purtroppo, la realtà supera la mia idiozia.
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La notizia, di per sé, è buona. Un privato non proprio ignoto, Manlio Maggioli – guida del Gruppo Maggioli – ha fatto spesa e si è comprato alcuni Cagnacci. Leggo dal Resto del Carlino: “Tra le opere acquisite ci sono due ritratti (databili tra il 1640 e il 1645), ‘Testa di ragazzo cieco’ e ’San Bernardino’, che provengono dalla collezione Albicini di Forlì, mentre gli altri due quadri, che hanno come soggetto entrambi ‘La Maddalena penitente’, l’imprenditore santarcangiolese li ha acquistati all’asta, a Londra e a Vienna”. Intorno all’imprenditore mecenate si palesano due esperti del Seicento pittorico italiano: Massimo Pulini, già Assessore alle arti al Comune di Rimini, valente pittore, e Vittorio Sgarbi. La notizia è ribattuta così: “Quattro capolavori di Cagnacci sono tornati finalmente a Santarcangelo”. Esulto. Cagnacci è un pittore straordinario, un avanguardista, uno che indossava svariati cognomi (“Cagnaccio, Cagnazzi, Canalassi, Canlassi”), che “per essere uomo obeso, barbuto e tozzo fu detto Cagnacci” (così il pettegolo Abbecedario pittorico di Pellegrino Antonio Orlandi, 1731), che litigò con tutti e non ci pensò due volte a fulminarsi la fama per l’amore scandaloso con la ricca vedova Teodora Stivivi, riminese. Il problema, però, si fa chiaro fin dal sottotitolo. E io ululo d’indignazione.
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Il sottotitolo: “Valgono un milione, le tele presto saranno esposte nella sala Cagnacci del ristorante Sangiovesa”. Non ci credo. La Sangiovesa è effettivamente un’osteria, sta a Santarcangelo, è proprietà di Maggioli, e tra le sale una ha il nome di Sala Cagnacci. In quella sala, come è lecito, si mangia. I quadri del Cagnacci tra gli afrori della carne che cuoce e il chiasso dei magnoni. Mi pare una scena delirante di un film felliniano, uso a sfottere gli abusi della borghesia trionfante. Da oggi, dunque, Cagnacci si può ammirare nella Chiesa Collegiata di Santarcangelo, pregando, o nel ristorante di Maggioli, mangiando e pagando. Che orrore.
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C’è dunque un lieve difetto nella comunicazione giornalistica, mi dico. I quadri del Cagnacci acquistati da Maggioli – felice chi li ha comprati tanto quanto chi li ha venduti, d’affari si parla mica di arte – non tornano a Santarcangelo. Verranno esposti nel ristorante di Maggioli. La cosa è diversa perché, nonostante le trombe pubbliche, questo non è un fatto pubblico – è pubblicità.
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Fino all’ultimo penso a una fake news. Macché ristorante: Maggioli predisporrà nella sua azienda uno spazio per i Cagnacci, dove andare, gratuitamente, a meditare. Oppure, già che c’è, comprerà uno stabile atto a costruire un breve ‘Museo Cagnacci’. Perché il criterio, per amare l’arte, è predisporsi al contemplare, nell’aureola del silenzio – all’osteria, piuttosto, presti attenzione al palato e agli amici. Ma, si sa, qui basta rimpinzare la pancia per pensare di avere la mente piena.
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Invece. Leggo un referto giornalistico on line (qui). Alla Rocca Malatestiana, mercoledì scorso, sono state presentate le opere del Cagnacci. Sgarbi ha detto – cito testuale – “restituire a Santarcangelo, interpretando il desiderio e il piacere di Tonino Guerra, delle opere, spiritualmente sensuali, di Guido Cagnacci, che prefigurò il sogno di Fellini, è una decisione preziosa e inevitabile quando la volontà, l’amore e la cura sostengono un luogo dell’anima come La Sangiovesa. E ciò accade grazie alla costante attenzione di Manlio Maggioli, mecenate del nostro tempo, custode della tradizione e interprete perfetto del mio pensiero”. C’è modo e modo di gratificare un mecenate, credo, gli incensi intossicano l’aria e dire di un ristorante che è “un luogo dell’anima” è un eccesso fisiologico e filologico.
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Le parole del patron ce le possiamo risparmiare. Cito due frasi. La prima conferma, contro la mia ingenua idiozia, che le cose stanno proprio così: il Cagnacci – immagino, debitamente protetto – entra in osteria. “Ho ritenuto quindi più saggio riportare il Cagnacci – che poi sono diventati quattro – a Santarcangelo, così che anche i santarcangiolesi potessero goderne; ho posizionato le opere in Sangiovesa, proprio nella Sala Cagnacci, che, guarda caso, esiste da sempre”. La seconda è più intrigante, esemplifica la bulimia del possesso. “Ho sempre desiderato avere un Cagnacci”, dice Maggioli. Come se Cagnacci fosse una griffe. Un Rolex. Una Ferrari. Un segno come un altro di un potere qualsiasi.
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La questione non è di luoghi o di abiti estetici (meglio l’osteria del monastero, per carità), ma di dignità estatica. Qual è il modo migliore per amare Cagnacci? Domandatevelo. Altrimenti, è la solita spacconeria dell’imprenditore danaroso che compra una cosa sua, per metterla in uno spazio suo, doma mangi e bevi e lo paghi.
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Immagina. Una Maddalena penitente in osteria. C’è una sacralità nei segni che non può essere dissacrata.
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Al Cagnacci di Maggioli – e alle scodinzolate di Sgarbi – preferisco quello di Alberto Arbasino. Lo scrittore ne scrive, sommamente, in Fratelli d’Italia (“davanti ai Cagnacci ci si ferma di colpo. È un pittore talmente hanté di immagini di seni femminili turgidi e di seggioloni finto-Cinquecento di pelle rossa, con le loro borchie, che intorno a queste immagini fa il vuoto; abolisce tutto il resto, paesaggi e suppellettili; ma con queste continua a costruire una serie di straordinarie Morti di Cleopatra”). Poi ci torna, in Le Muse a Los Angeles, così: “Questa magnifica raccolta italiana… viene presieduta da un sensazionale Guido Cagnacci… Un Cagnacci addirittura più ‘intriguing’ delle sue varie e notorie Cleopatre e Maddalene porcellone che muoiono sui seggioloni da notaio in un tripudio di splendide tette da casino emiliano, agitate, sballottate, frementi; o volano al Cielo in un vortice di stupende cosce bolognesi sorrette da robusti facchini alati, bene accolte da angioletti sviluppatissimi, pesantissimamente commentate dai visitatori padani alle mostre locali, e dipinte con squisitezza soave. La sua Europa migliore, ebbra di velocità con le tette salmastre e aulenti al maestrale o al libeccio, nemmeno sente se eventualmente pungono le rose ‘pompier’ accumulate in grembo per la navigazione sul mitico toro, fiorito anche lui come un bouquet”. Lo invitiamo a Santarcangelo?
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Non so se s’è capito. Per me esporre Cagnacci al ristorante è una candida minchiata. (d.b.)
*In copertina: Guido Cagnacci, “Noè ebbro”, 1663
L'articolo Cagnacci esposto in osteria! Per tutti è una figata (compreso uno Sgarbi felliniano), per me è una boiata pazzesca. In ogni caso, sul geniale pittore ha scritto tutto Alberto Arbasino proviene da Pangea.
from pangea.news http://bit.ly/2EfpWTn
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