Tradicionalni recepti

Koktel Himna slobodi

Koktel Himna slobodi

Koktel Himna slobodi

Nastavimo slavlje olimpijskih koktela u Londonu, ovaj put sa našom prijateljicom Grčkom. Koktel Hymn to Liberty poslužuje se u njujorškom Stone Rose Loungeu, Whisky Parku, dnevnoj sobi i Whisky Blueu u W Los Angelesu.

Sastojci

  • 1 1/2 unca grčke rakije Metaxa
  • 1 žlica džema od smokava
  • 3 limuna
  • 1/2 unce meda

Upute

U limu razmutite limune, zatim dodajte med, džem, Metaxu i led. Protresite i procijedite u kamenom staklu. Prelijte gaziranom vodom i ukrasite suhom smokvom.

Nutritivne činjenice

Serviranje1

Kalorije po obroku247

Ekvivalent folata (ukupno) 22µg5%


Himna slobodi: Zašto jedno grčko selo pjeva svoju državnu himnu

"Ne mogu stajati i pjevati himnu", piše Jackie Robinson, legenda bejzbola i jedan od najomiljenijih Amerikanaca svih vremena, u svojoj autobiografiji 1972. godine. "Ne mogu pozdraviti zastavu, znam da sam crnac u bijelom svijetu." Ove sedmice, četrdeset četiri godine kasnije, Sjedinjene Države našle su se usred još jedne kontroverze oko himne. Kao snažna izjava protiv policijske brutalnosti i rasne segregacije u zemlji, branič američkog fudbala, Colin Kaepernick, objavio je u javnosti svoje odbijanje da stane tokom pjevanja američke himne koja se, tradicionalno, pjeva prije sportskih događaja u Americi. Ovdje, sjeverno od granice, kanadska himna je nedavno podvrgnuta reviziji kako bi se uključili tekstovi koji su rodno neutralniji. Samozvani patrioti i hiper-nacionalisti iz obje zemlje podigli su šake uzvikujući: "Izdajice!". Dres Colina Kaepernicka javno je spaljen na lomači. Kandidat za predsjednika Sjedinjenih Država Donald Trump rekao je Colinu da "pronađe zemlju koja mu bolje odgovara". Podjela oko jedinstva u ime nacionalnog ponosa pomiješana sa strahom od revizije. Osjeća se oksimoronski, ili možda samo moronski. Naracija o tome ko smo mi kao građani ovih zemalja i, što je još važnije, kao pripadnici ove ljudske rase, izgubljena je. Postavlja se pitanje, kako nacionalni identiteti postaju sve složeniji, je li realno misliti da jedna, jedinstvena pjesma može obuhvatiti tko smo zaista kao država?

Proteklih mjesec dana boravio sam u Grčkoj na snimanju dokumentarnog filma o identitetu mladih u naciji usred trenutne ere štednje i ekonomskog pada. Slično Americi, postoji dio grčkog stanovništva koji se našao u ratu, suprotstavljen establišmentu, ljutito noseći ožiljke uzrokovane višedecenijskom korupcijom. Zemlja puna vladinih zvaničnika kojima nedostaju osnovne vrijednosti potrebne za vođenje. Anarhisti koji drže molotovljeve koktele. Policijske snage kriju se iza polikarbonatnih štitova, ne želeći razgovarati s drugom stranom. Slomljen pravosudni sistem. Beskućništvo. Izbjeglička kriza. Nacija izgladnjela i iscrpljena, željna trenutka ujedinjenja. Sjedio sam, s glavom u rukama, kamerama na gležnjevima, pitajući svemir za taj trenutak.

Tokom poslednje nedelje produkcije, snimali smo u selu Kiveri, dva sata jugozapadno od Atine. Ovdje smo proveli vrijeme u kampu za razvoj mladih koji je vodio Kanađanin-Grk John Karkalatos koji je, u posljednjih šesnaest godina, igrao košarku kako bi preokrenuo utjecaj spomenute korupcije i usadio novi osjećaj samopoštovanja, discipline, i nacionalni ponos u omladini sela. Tristotinjak djece, u dobi od tri do dvadeset tri godine, godišnje učestvuje u Ivanovom kampu dva mjeseca, a na posljednjoj večeri pred blizu tristo gledatelja. Pobjednički prikaz napora, srca i saosjećanja koje grčka omladina može ponuditi.

Pred kraj večeri, i tokom Johnovih završnih riječi, on pita okupljene: "Podignite ruku ako ste u posljednjih deset godina pjevali državnu himnu svoje zemlje." Nevoljko, nekoliko desetina diže ruke, uglavnom djeca. Iz gomile izlazi mlada žena, sa violinom u ruci. "Samo slušaj", kaže John. Počinje da svira "Himnu slobodi", grčku himnu 158 strofa, pjesmu koju je napisao Dionýsios Solomós i koju je uglazbio Nikolaos Mantzaros. Inspirisan grčkim ratom za nezavisnost i posvećen nadi u slobodu.

Ona završava. "Sada pjevaj", kaže John, spuštene glave i očiju ispunjenih vodom. "Zajedno. Glasno." Doktori, bankari, profesori, poljoprivrednici i ribari podjednako pjevaju. Muškarci, žene i djeca. S moje lijeve strane, grupa od tri djevojčice rođene od Albanaca, roditelja izbjeglica. Tekstovi, koliko god bili lepi, bledi u poređenju sa radnjom. Pjesma, koliko god glasno zvučala, stišana čistom strašću i prodornom urlikom šest stotina Grka, ruku do srca, uzdignute glave.

Nakon toga, Johnu prilazi stariji gospodin koji mu se rukuje. "Bez obzira na sve ostalo što ste postigli večeras", kaže on Johnu. "Želim vam zahvaliti na tome."

Ponos se u ovoj zemlji često zloupotrebljava. Točenje kamenja, vrištanje u agoniji i neredi na ulicama je lako i lijeno je. Istina je, nacionalni ponos u Grčkoj oduvijek je povezan s otporom ugnjetavanja i kroz istoriju, u teškim vremenima, Grci se na kraju često ujedine kako bi porazili neprijatelja. Međutim, upravo sada grčki narod mora ukloniti rak koji mrzi sebe i naučiti ponovo istinski voljeti svoju zemlju. Mora se obaviti pravi posao, znoj proliti. Prihvatite to, prigrlite one pored sebe i preuzmite vlasništvo nad pitanjima. Zatim, kad se prašina slegne i rat dobije, nemojte raskopčavati ruke kao što smo to činili već toliko puta. Zalažem se za buduće generacije Grčke da nastavite čvrsto postavljati noge u zemlju, ponosno mahati zastavom svoje zemlje i pjevati njenu himnu jednako glasno kao što je to bio slučaj kad vam je do hrama bio pištolj. Ovi pojedinačni, snažni trenuci solidarnosti podsjećaju nas na naš put do ovog mjesta i potvrđuju vrijednosti koje štitimo. Da, treba nam državna himna. U pravim rukama takvo nešto može ujediniti, nadahnuti i njegovati sreću. Mojim kolegama Kanađanima i komšijama na jugu, ako himna više ne predstavlja ljude kojima služi, prepravite je. Ne palite jedni druge radi zaštite arhaičnih i zastarjelih tradicija. Odbacujete priliku koja će vam jednog dana, možda čak i danas, biti potrebna. Kad se zateknete kako gazite vodom poput Grka, poželjet ćete da imate za što držati se.

Do ovog trenutka ovaj je film bio projekt koji se sam financira. Tražimo od javnosti da donira za našu stvar kroz našu GoFundMe kampanju koja će nadoknaditi naše dosadašnje troškove leta i opreme. Hvala vam puno na podršci.


AMERIČKA PREMIJERA HIMNE STATU Slobode

Originalni rukopis desetominutne himne Kipu slobode Charlesa Gounoda - izveden samo jednom, u Pariškoj operi 1876. pod dirigentskom palicom kompozitora, a zatim zanemaren više od jednog stoljeća - prikazan je juče u pretpremijeri svog prvog izvođenja u Sjedinjenim Državama.

Rukopis koji je u utorak u New York donio Fran, cois de Laboulaye, bivši francuski ambasador u Sjedinjenim Državama i potomak naučnika koji je razvio ideju o francuskom plemenitom daru ovoj naciji, prikazan je u Pierpont Morganu Biblioteka. Napomene Gounoda o tome kako bi to trebalo izvesti napisane malom, urednom rukom nalaze se na naslovnoj stranici originalne partiture od 43 stranice.

Djelo pod nazivom ' 'Liberty Enlightening the World, ' ' bit će izvedeno 11. aprila u Alice Tully Hallu u Schola Cantorumu iz New Yorka i grupi iz All-City High School Chorusa. Režirat će Hugh Ross, dirigent Schole i#x27s od 1929.

Prvi i jedini poznati nastup, 25. aprila 1876. godine, na svečanosti prikupljanja sredstava za statuu, nastupio je na stotine izvođača. Uključivali su izuzetno veliki muški zbor i ono što je gospodin Ross opisao kao ' ɺ vrlo pun orkestar - trostruki drveni duvači, četverostruki mjed, pune žice i udaraljke. ' '

Uzviknuo je, ' 'Samo pogledajte ovaj rezultat! Ima sve! ' '

Dirigent je dodao: ' 'Nažalost, samo pola tuceta gradova u ovoj zemlji ima resurse da se uhvati u koštac s ovim komadom čak i sa običnim simfonijskim orkestrom i muškim zborom. ' '

Tako je gospodin Ross obnovio rad za mješoviti hor koji će pratiti klavir, orgulje ili limeni orkestar ili sva tri. Bez svog originalnog dugog orkestarskog uvoda, pjesma - ili motet, kako je naziva gospodin Ross - traje oko pet minuta, sa ponavljanjima. On je takođe preveo riječi pjesnika Emilea Guiarda - Victor Hugo, koji je prvo upitao Gounod, odbio je zadatak - na rimovani engleski.

Gospodin Ross je rekao da sada, sa skromnijim bodovanjem i na engleskom jeziku, ' 'it 's u potpunosti može koristiti bilo koji hor američke srednje škole ili zajednice, klavir ili limeni ansambl. ' ' Otišao je uključeno, ' 'priznajem da 's nije savršena reprodukcija, ali je 's praktična. ' '

Pod pokroviteljstvom Fondacije Statue of Liberty-Ellis Island, osnovane 1983. godine za prikupljanje 230 miliona dolara za restauraciju i očuvanje Kipa slobode i obližnjeg ostrva Ellis, novouređenu partituru objavit će Cherry Lane Music Company na korištenje horskih društava. Procjenjuje se da ih u Sjedinjenim Državama ima 30.000.

Kip, sada okružen skelama, trebao bi biti potpuno obnovljen i ponovo posvećen tokom ceremonija tokom 1986. godine, 100 godina nakon postavljanja u njujorškoj luci.

Dok je g. Ross s oduševljenjem svirao na klaviru u svojoj dnevnoj sobi, partitura, spor marš, evocira odjeke francuske himne, ' 'La Marseillaise, ' ' u njenim uvodnim mjerama. On je nazvao raspoloženje ' ɾxalted ' ' i muzikom i riječima, ' ɺ trijumfalnom proslavom ' ' Američke revolucije, stoljetnom 1876. ' 'Prije nego što ste vi otišli 10 ili desetak redova u pjesmi, Washington i Lafayette su apostrofirani, rekao je.

' 'Ovo je bolje od obične patriotske pjesme, ' ' je dodao dirigent, ' 's obzirom da je dobio odgovarajuće arhitektonske proporcije. ' ' U prijevodu s francuskog, početne riječi su, ' 'Ja sam trijumfirao! Imam 100 godina! Moje ime je Liberty! ' ' Gospodin Ross je malo preuredio engleske riječi kako bi odgovarao muzici.

Rukopis Gounod -a pronađen je do njegovog opskurnog počivališta u ogromnoj Nacionalnoj biblioteci u Parizu - ' ' sa mnogo startova, zaustavljanja i zaobilaženja ' ' - Nancy Sureck, direktorica kulturnih i posebnih događaja za Zaklada Kip slobode.

Vidjela je da je pojedinačna izvedba pariške opere dokumentirana u savremenim izvještajima i sekundarnim historijskim izvorima, ali nije mogla locirati partituru. Prošlog ljeta, direktor muzeja Bartholdi u Colmaru u Francuskoj, rodnom mjestu Frederic Augustea, vajara Kipa slobode, konačno je gospođu Sureck usmjerio prema nacionalnoj biblioteci u Francuskoj.

Gospodin de Laboulaye, praunuk Edouarda de Laboulayea, glavnog pokretača pokreta za prikupljanje novca u Francuskoj za veliku brončanu statuu, rekao je da je ideja za statuu nastala za njegovim stolom za predake još 1865. godine. Prisutni su, rekao je, i Bartholdi i Alexis de Tocqueville.

Gospodin de Laboulaye bio je francuski ambasador u Sjedinjenim Državama od 1977. do 1982. godine i kopredsjednik je Francusko-američkog odbora za proslavu stogodišnjice Kipa slobode.

Partitura će biti prikazana u Morganovoj biblioteci do 14. aprila, a zatim će se vratiti u Biblioteku. Aranžman gospodina Rossa će takođe dobiti privatni pretpremijerni nastup 9. marta od 325-glasovnog Mormonskog zbora tabernakla u Salt Lake Cityju prije godišnje konvencije direktora američkih horskih društava.

Na dobrotvornoj predstavi Pariške opere 1876. godine, 10 godina prije nego što je kip u ogromnim komadima donesen u New York, Edouard de Laboulaye je održao uzbudljiv govor tražeći sredstva. ' 'Ova sloboda neće biti ona koja nosi crvenu haubu na glavi, štuku u ruci, koja hoda po leševima, ' ' je rekao. ' 'To će biti američka sloboda koja ne drži zapaljivu baklju, već svjetionik koji prosvjetljuje. ' '

' 'Neka ova statua bude spomenik starom prijateljstvu, vremenu i oluji! ' '


Koji su simboli Grčke?

Grčka nacionalna zastava sastoji se od četiri bijele i pet plavih naizmjeničnih vodoravnih pruga s bijelim križem u gornjem lijevom kutu. Plava i bijela su nacionalne boje Grčke, jer plava simbolizira nebo i mora, a bijela označava čistoću grčke borbe za nezavisnost. Krst predstavlja kršćansku religiju. Devet plavo-bijelih vodoravnih pruga zastave predstavljaju devet slogova grčkog mota Eleftheria i Thanatos (grčki za slobodu ili smrt).

Državna himna

Himna slobodi (ili Himna slobodi) pjesma je koju je napisao Dionisios Solomos (1823) i sastoji se od 158 strofa. Uglazbio ga je Nikolaos Mantzaros (1865) i to je najduža himna na svijetu po dužini teksta. Ova himna izvodila se na svakoj završnoj ceremoniji Olimpijskih igara, kako bi odala počast Grčkoj kao rodnom mjestu drevnih Olimpijskih igara.

(Engleski prijevod Rudyard Kipling)

Znamo te od davnina
O božanski obnovljeno,
Pri svetlosti tvojih očiju
I svjetlost tvog mača.
Iz grobova naših ubijenih
Hoće li hrabrost prevladati
Dok te pozdravljamo,
Dok te ponovo pozdravljamo,
Pozdrav, Sloboda! Oh, zdravo!

Državni grb

Državni amblem Grčke, poznat i kao grčki grb, sastoji se od plavog grba s bijelim križem koji je potpuno okružen s dvije lovorove grane. Prvi grčki nacionalni amblem predviđen je Ustavom iz Epidaura od 1. januara 1822.

Boje državnog grba Republike Grčke su plava i bijela. Dodatni dizajn sa zlatnim lovorovim lišćem pojavljuje se na kapama vojnih oficira Helenskih oružanih snaga, kao i na zastavi predsjednika Republike.


Dionisios Solomos: Grčki pjesnik slobode


Pjesnik Dionisios Solomos odaje se počast svakog 9. februara povodom Međunarodnog dana grčkog jezika za ispisivanje nacionalne himne zemlje "Himna slobodi".

Njegovo djelo imalo je ogroman utjecaj na ujedinjavanje Grka i stvaranje zajedničkog nacionalnog identiteta nakon rata za nezavisnost 1821. i uspostave slobodne države.
Zbog toga se Solomos, rođen na ostrvu Zakintos 1798, s pravom smatra grčkim nacionalnim pjesnikom.

"Himna slobodi" napisana je 1823. (grčki: Ὕμνος εἰς τὴν Ἐλευθερίαν, Ýmnos eis tīn Eleutherían) i sastoji se od 158 strofa. Uglazbio ga je Nikolaos Mantzaros i najduža je himna na svijetu po dužini teksta.

Godine 1865. prve tri strofe (a kasnije i prve dvije) službeno su postale nacionalna himna Grčke, a od 1966. i himne Republike Kipar.

Nadahnut Grčkim ratom za nezavisnost, Solomos je napisao himnu u čast borbe Grka za nezavisnost nakon vjekova osmanske vladavine.

Pjesma opisuje bijedu Grka pod Osmanlijama i njihovu nadu u slobodu. On opisuje različite događaje u ratu, poput pogubljenja carigradskog patrijarha Grgura V, reakcije velikih sila, opsežne opsade Tripolice i kršćanski karakter borbe.

Prvi stih
Uvijek ću te prepoznati
strašnim mačem koji držiš,
kao Zemlja sa tragajućom vizijom
anketirate hrabro.

Drugi stih
Od starih Grka čije je umiranje
oživljen i oslobođen duha,
sada sa drevnom hrabrošću u porastu
Pozdravimo te, o Sloboda!

Solomos je bio centralna ličnost Heptanske škole poezije i smatra se nacionalnim pjesnikom Grčke - ne samo zato što je napisao državnu himnu, već i zato što je doprinio očuvanju njene ranije pjesničke tradicije i naglasio njenu korisnost za modernu književnost .

Nakon što je završio Himnu slobodi, Solomos je nastavio pisati impresivnu poeziju, ali nikada do kraja nije dovršio drugo djelo, a vrlo malo njegovih djela objavljeno je za njegova života. Preselio se na Krf i tamo osnovao književni krug.

Solomos je pred kraj života pretrpio niz moždanih udara i preminuo je 9. februara 1857. Njegovi posmrtni ostaci vraćeni su na rodni Zakintos 1865.


Grčka nacionalna himna i njeno značenje

Prvo objavljivanje grčke nacionalne himne “Hymn to Liberty ”. Javna domena

Grčka nacionalna himna jedna je od najprepoznatljivijih bilo gdje u svijetu i najduža je od svih takvih pjesama, koju je napisao domaći pjesnik Dionisios Solomos.

Naslov mu je Ὕμνος εἰς τὴν Ἐλευθερίαν ” (Himna slobodi). Napisana je kao pjesma od 158 strofa 1823. godine na grčkom ostrvu Zakintos, a štampana je godinu dana kasnije u Missolonghiju.

Pesma Solomos inspirisana je hrabrim ljudima koji su se borili u Grčkom ratu za nezavisnost i bogatoj istoriji Grčke#8217.

1865. kralj Grčke, George I, posjetio je Krf i čuo ostrvsku filharmoniju koja je izvodila prve tri strofe, a koje je uglazbio operni kompozitor Nikolaos Mantzaros.

Kralj je bio toliko impresioniran da je naredio da se muzika benda svira tokom službenih događaja, pa je Himna slobodi postala nacionalna himna Grčke.

Počevši od 1966. godine, postala je i Državna himna Kipra, nakon odluke Vijeća ministara.

Naslovnica Dionisiosa Solomosa ’ Himna slobodi (Ὕμνος εἰς τὴν Ἐλευθερίαν), objavljena u Missolonghiju (Mεσολόγγι) 1825. Prvo grčko izdanje iz štampe Dimitrija Mestheusa Kredit: Javno vlasništvo

Nacionalna himna Grčke sadrži scene iz Rata za nezavisnost

Knjiga “Hymn to Liberty ” bavi se nekoliko tema iz Rata za nezavisnost, drugim iz dugog perioda grčke historije.

Pjesnik predstavlja božicu slobode i prisjeća se prošlih mučeništva helenizma i pobune robova —, kao i radosti što je Helen.

Solomos takođe govori o preziranju evropskih vladara prema Grčkoj i prezirnoj ravnodušnosti Grka prema njihovom proturskom stavu.

U strofama 35-74 grčke nacionalne himne, pjesnik opisuje bitku i pad Tripolitse, turske prijestolnice i uporišta na Peloponezu.

Strofe 75-87 govore o bitki kod Korinta i uništenju moćne vojske Drame Ali u Dervenakiji.

Prva opsada Missolonghija 1822. godine i utapanje Osmanlija u rijeci Acheloos opisani su u strofama 88-122 pjesme.

Hrabri pomorski angažmani, uglavnom spaljivanje turske zastave u blizini Tenedosa, opisani su u strofama 123-138, kao i varvarsko vješanje Grigorija, patrijarha Carigrada.

U Epilogu (139-158) pjesnik savjetuje borce da se oslobode svojih štetnih nesloga i sitnih razlika i poziva moćnike Evrope da dozvole oslobođenje Grčke.

Grčka nacionalna himna na engleskom rima

1. Znam te po žalosti
oštrica vašeg oštrog mača
Znam da ti oko gleda strašno
brzo brojeći obnovljena zemljišta

2. Ti si izašao iz mrtvih
Grci koji su umrli i živjeli za tebe
i poput nekada čvrstog srca
Zdravo, zdravo Sloboda

3. Tamo unutra nećeš ostati
suzdržan, ogorčen takođe
za poziv koji si se molio
rekavši ti da se vratiš iznova

4.Taj dobar dan uvijek je odlagao
sve je okolo bilo nijemo
jer je ugnjetavanje bilo zastrašujuće
a slav ’ry su bili vezani

5. Jao tebi! Tvoja jedina uteha
sjedi usamljeno i priča s uzdahom
slava je prošla kad si bio bez straha
i prepričavajući ih da plaču

6. I čekajući poziv
liberalni snažan glas da se usudi
tvoja ruka drugom rukom udara
iz tuge i očaja

7. … govoreći hoće, ah! neću nikad
podići glavu od ovih loših divljina?
Odozgo odgovara kao i uvek
jauci, lanci, okovi svih vrsta

8. Zatim ćeš svoje oči#8217 podići uplakane,
maglovito, puno suza i crveno,
na tvojoj haljini neuobičajeno kaplje
uzalud prolivene grice grčke krvi

9. Sa tvojom odjećom krvavom i smrdljivom
Voleo bih da se iskradeš
stranim zemljama koje traže
dalje ruke snažne i stasite

10. Otišao si sasvim sam
a ti si se vratio sasvim sam
jer se kapije neće razdvojiti
kad je potrebno ko kuca na#8217

11. Drugi na tvojim grudima plaču
ali nisu ponudili predah,
drugi pomažu pri navođenju riječi
ali su vas inat zavaravali

12. Drugi, jao! po tvojoj nesreći
bili oduševljeni i htjeli bi
“ odlazi da se pridružiš siročadi,
idi ” rekao bi tvrdoglavi

13. Sada se tvoje noge trude prema kući
i prenaglašeno se kotrljaju
na stijeni ili na tlu
kojih se tvoja slava sjeća

14. Polako se klanja
trostruko bijedna tvoja tužna glava,
prosjak. od vrata do vrata ko ’ ide
a njihov život je previše mrtav

15. Da, ali sada oni protive paljbu
svo tvoje sjeme s nagonom i veseljem,
i oni traže čvrsto, neumorno
ili pobeda ili smrt

16. Ti si izašao odavde
Grci koji su umrli i živjeli za tebe
i poput nekada čvrstog srca
Zdravo, zdravo Sloboda

17. Kad je nebo ugledalo tvoju nadu,
koji je za ugnjetavajućeg brutala,
u tvojoj domovini sa ljubaznošću
nahranjeno cvijeće i voće,

18. … je laknulo i počelo je
pakleni zvuk koji treba izliti,
a tebi se odazvao odgovor
Riga ’s borbeni plač

19. Svaka tvoja zemlja te je zvala
srdačno vas pozdravlja sa željom
a usta hrabro viču
ono što srce neće odbaciti

20. Vika koja je stigla do zvijezda na nebu
i sa jonskih ostrva,
hrpa podignutih ruku nastavlja mahati
pokazujući koliko je njihovo veselje istinito

21 … iako su okovani i odvojeni
svaki sa glatkim dekretom
a čelo im je ukrašeno
sa “Umanjivom slobodom ”

22. Srdačno zadovoljan i pogođen
bila slobodna zemlja Washington -a
i lanci su se sjetili
koji ju je pritvorio

23. Iz svog dvorca riče
baš kao i pozdraviti učinjeno
a grivu trese olujno
Lav Španac

24. Zaprepastio se u svojim odajama
Bijesna zvijer Engleske koja ima
poslati u daleke ruske uglove
glasno režanje njegovog gnjeva

25. … sa držanjem koje jasno pokazuje
koliko mišića krije ruke,
u egejskim talasima koje on baca
upaljeni pogled koji alarmira

26. Kroz oblake iznad tebe te ugleda
isto tako i Oraovo oko dok je njegovo
krila i kandže rastu
na italijanskim trupovima

27. … i protiv tebe postaje neprijateljski,
od kada te zauvijek mrzim,
grakće i krči prokleti neprijatelj dok
pokušavajući da vam ometam pohod.

28. Pa ipak ne mislite ni o čemu
osim gdje prvo trebaš otići,
ne odgovarate, niti radite nešto
za sve one koji su te prokleli,

29. … poput visoke planine koja se pušta
drski prljavi tok vode
na noge i samo tamo namještanje
ološ koji će uskoro nestati,

30. … koji pušta snažan vrtlog
tuča takođe i jaka kiša
da udare svojim grubim bičevanjem
njegov večni vrhunac uzalud

31. Jao njemu! O jao onome ko
sudbina će biti u toku
tvoj oštar mač i ima kapric
ostani i stavi ga na probu

32. Prljavo čudovište sada razmišlja
da mu nedostaje mladunče lutalica
prvo se grči, a onda izviruje
i on žudi za ljudskom krvlju,

33. … sada trči po svim šumama
planine, polja, provalije i zemlja,
gdje je stajao ili prošao žetvu
užas, pustoš, smrt.

34. Užas, smrt i pustoš
svuda si i ti prošao
jer te izaziva ogorčenje
sr ’mač moj bez korice za gledanje

35. Gle, zidovi koji stoje visoko tamo,
Tripoli, odvratna jama,
osuda i grmljavina i terorizam
sada želiš#8217

36. Pobjede protiv prijestupnika
napunio oči mrvicom i osmijehom,
slepi za svoje ogromno oružje
i na njihov ratni navijački din

37. Tresanje pesnicama i brušenje
zubi koje pokušavaju pokazati.
Ne slušajte strah i plašenje
bezbroj ljudi, muškaraca i slepih momaka?

38. Nekoliko usta i manje očiju
ostat ćeš otvoren, sramota,
da plače zbog smrti
od svih života jad će tražiti!

39. Izašli su i počeli se sukobljavati
rasplamsavajuća bitka
punjenje musketa, pucanje, bljeskanje
oštrice mača sjaje, mlate i režu

40. Zašto se borba već završava?
Zašto ’s ima i oskudne krvi?
Gledam neprijatelje u usponu
u zamak su brzo otrčali.

41. Broji! Oni su bezbrojni željni
koji trče za svoj život,
više vole da im leđa budu izrezana
da ne bi ostali i okusili nož

42. Ostanite zaključani, uskoro ćemo tamo napredovati!
Sačekajte dok ne budete sigurni da ste napisali!
Čekaj, kraj dolazi, odgovori,
u tami noći!

43. Odgovorili su i bitka
pokreće i pali mjesto
greben do grebena zujati i zveckati
zvuči burno i užasno

44. Čujem kako pljeskaju muškete
i mačevi koji zveče ispod
Mogu čuti sjekire kako sjeku
i škrgutanje zubima

45. Ah, kakva je ovo noć bila
ispunjava intelekt strahom!
Nije bilo spavanja ni pauze
spasiti gorčinu mrtvih.

46. ​​Vrijeme i mjesto radnje,
ado, vrišteći narod,
ekstremno okrutna strast
obilježavanje rata, rastući dim,

47. …glasne eksplozije, mračne i maglovite
postavljanje probodeno vatrenim rafalima,
blisko predstavlja Had
željni primanja kursa,

48. …čeka ih. Bezbroj senki
pokazujući se goli na nogama,
kćeri, starješine, dame, udovice,
bebe vezane za sise.

49. Svi crni kao mrlja i#8217tis sada se roje
crna utopljena tužna gomila
poput oštre žalosti žalosti
na samrtnoj postelji, tamni oblak

50. Vezice, vezice nepromenjene mase
klija iz zemlje i iza kulisa#8217s,
svi su oni nepravedno zaklani
od besnog turskog besa

51. Mnogi kao uši
po žetvi polja,
gotovo svi ovi dijelovi bili su zamršeni
pokriveni ovim tragičnim prinosima

52. Tu i tamo po čitavoj vrevi
maglovito zvezdano svetlo uzburkalo je jato
kad su krenuli prema dvorcu
u smrtnoj tihoj šetnji

53. Slično na ravnicama ispod u
gusto obraslo drvo,
svaki put kad polumjesec baci
malo blijedo svjetlo koje razrjeđuje

54. na vetrovima, tiho šušti
kroz nabijene grane lišene lišća,
mutne mrlje tresu i guraju
gde izdanci dodiruju svoje vršnjake.

55. Očima i dalje gledaju
’ okolo kako biste pronašli lokve krvi,
u krvi oni divlje plešu,
njihovo promuklo režanje pretvara se u poplavu

56. … i gomilaju se zajedno
’ oko grčkih svirepih bendova
i hrabre grudi se dodiruju
sa svojim beživotnim zimskim rukama

57, Ovaj umrtvljujući dodir ide
duboko unutar unutrašnjih dijelova
ispuštajući tugu koju ’re skladište
ostavljajući nemilosrdna srca

58. Tako ’tis užasno raste
ovaj poguban borbeni ples,
poput oluje koja neobuzdano duva
u usamljenom prostranstvu mora

59. Visoko i nisko oni ludo udaraju,
svaki pogodak spuste
’to je ozbiljan i smrtonosan pogodak,
bez potrebe za drugom rukom

60. Svako tijelo se znoji, buči
kao iz svoje duše,
bolestan od mržnje koja žestoko gori,
nastoji na bilo koji način da se vinu

61. Otkucaji srca potresaju se
u njihovim grudima usporene i umiješane
i ruke kad god lupaju
su dva ili više puta brži

62. Za sve njih nebo nema,
ni otvoreno more, pa čak ni tlo,
za gornji i donji svet
koncentrišu se u svom okruženju

63. Uzbuđenje i bijes
toliko su oštre, kako obe strane teže
odlučno, to vas tjera na brigu
nijedan čovek neće ostati živ

64. Gledajte kako se pogrešno nakupilo
u ovim rukama koje kidaju niti života!
Na zemlju padnite unakaženi
brojne noge, ruke i glave,

65. …kabari, mačevi i ćelavci,
lobanje prerezane ili prerezane na dva dijela,
mozak je ležao razasut po cijeloj vatri.
parna crijeva koja tijela izbacuju.

66. Niko neće platiti ni upozorenje
na klanje samo malo,
svi oni napreduju zvjerski.
Stop! Dosta! Kada ćete prestati?

67. Nijedan čovjek ne udostojava da ode kao opcija
osim za vrijeme kad će položiti.
Oni uopće ne osjećaju iscrpljenost
kao da su tek počeli

68. Sada je kursa sve manje
“Allah ” glasno viču
ali hrišćanske usne su istinitije
“fire ” “fire ” je njihova vika

69. Lavljeg srca oni tuku
neprijatelji jaki, uvijek vrište “požar ”
razmetljivi se razbojnici razbacuju
vrišteći “Allah ” se penzionišu

70. Strahovi i oblaci prašine u svim prostorijama
bolni uzdasi, bespomoćni plač,
svuda okolo tihi jauci i užasi
i svuda ljudi umiru

71. Oh koliko! Ipak, vodeći udarac
ne odjekuje im u ušima.
svi sada leže tamo gdje mrtvi trunu
kad četvrta zora pusti suze

72. Rečna krv zaklanih
pretvarajući provaliju u ulicu,
a nevina trava zalijevana
s krvlju muškaraca umjesto rose

73. Novi zorin povjetarac, kako šumeće,
više ne duvaš
za nevjernike ’ polumjesec
duvaj, duvaj u krst!

74. Ti si izašao iz mrtvih
Grci koji su umrli i živjeli za tebe
i poput nekada čvrstog srca
Zdravo, zdravo Sloboda

75. Evo polja Korinta,
ali sunčeva svjetlost ne prolazi
na planetarna stabla tisn ’t sipa
ili na vinogradima, vodama takođe

76. U lakom eteru, zapanjujuće,
ni bezbrižan zvuk ne bi flotirao,
nije vještica i veselo grmljavina,
ne bi jagnje samo blejalo.

77. Hiljade vojnika juri
poput talasa do obale,
ali tvoje hrabre hrabrosti su poletne,
ne vode više računa

78. O, tristo Spartanaca vas odgaja
na ovo zemljište se vraćaju iznova
a vaša djeca ponosno vas gledaju
koliko liče na tebe!

79. O ’er vaše hrabrosti puno je potreseno,
njihovim zaslijepljenim korakom
zabranjeni u Korintu, odvedeni su
da se sakrije i izbegne hajku

80. Šalje anđela uništenja
glad i bolesti koji uzimaju
u obliku kostura i akcije,
hodajući jedan pored drugog grabe,

81. … ležeći na travi i uzdižući se
umirali su posvuda
napušteni bedni ostaci
katastrofe, bijega, očaja

82. Ti božanski i neumitni,
sposoban za svako delo,
Sloboda, sada krvava, bolna,
u dolini je tvoj gazište.

83. U sjeni nanizani
Vidim i njih red bisera,
pleši djevičansko mnoštvo zauvijek,
ruku pod ruku grčke djevojke,

84. … horskim korakom, oporavljanjem glasa,
erotske oči pune štiha,
na povjetarcu božanski maše
crne i kestenjaste kose.

85. Moja se duša raduje slanom,
u grudima svakog,
mleko slobode i hrabrosti,
koje će hraniti njihovo nerođeno sunce

86. Na zelenilu, usred cvijeća
Zaboravio sam svoju šolju sa strane,
liberalne pjesme i odlične
nakon Pindara recitiram.

87. Ti si izašao odavde
Grci koji su umrli i živjeli za tebe
and like erstwhile stouthearted
Hail oh hail thee Liberty

88. Thou appeared in Missolonghi
the blest birth of Christ to laud,
wilderness takes heart and longing
blossoms for the Son of God

89. Holding cross, a blazing figure,
the Religion, came ally
to thy cause, and shaking finger
pointing way clear of the sky

90. …”on this”, she declared, “here dry land,
Liberty, stand mountain tall!”,
kisses thee on mouth and silent
enters lone the church’s hall

91. O’er the altar solemn she lows
in a fragrant fumy cloud
from the thurible it billows,
reaching for the missing crowd,

92. …and she’s heeding to the service
that she taught without constraints,
staring to the lights unselfish,
bowing humble ‘fore the Saints

93. Who are they approaching banging
and so loudly trampling with
weapons and more weapons clanging?
Tall thou straighten up forthwith!

94. Ah, the bright light that bedecks thee
like the crown around sun’s girth
grandly sheens afar perplexing,
no, it isn’t from this earth

95. All of thee a blazing splendour
everything lip, forehead, eye
sheens thy leg, thy forearm and more
all around thee is in light

96. Firm thou raisest thy sword against them
with three leaps ahead thou spike’st
tall like tower thou aggresst them
on the fourth one down thou strike’st

97. With a strong voice and compelling
to the infidels thou hurled:
“Fools today He’s born expelling
pain, the Saviour of the world”

98. He says, hearken “I’m your Father
Alpha and Omega both
speak out, where shall ye take cover
if ye instigate my wrath?

99. I may rain a restless fire
that if ye compare it to
hell’s unyielding timeless pyre,
know, the latter feels like dew

100. It may gobble down like splinter
lands immensely high, but then
countries, mountains it may sinter
forests and wild beasts and men

101. It shall be scorching and bereaving
e’en a breath shall not be spared
save the wind that shall be breathing
with leftover ashes paired”.

102. Someone wondering might query:
Art thou sister to His ire?
Who is worthy ‘nough to quell thee
or confront thee, I inquire?

103. Shocked the land perceives the savage
valor in thine arms and brawn,
that it wants to fully ravage
all the christian-hating spawn

104. ‘Tis perceived too by the waters,
I can hear them keen to feast
snarling loudly at the squatters,
roar as if they were a beast

105. Woe! Ill-fated men, why rush ye
towards Achelous flow
and attempt to cross it gusty,
deftly shunning chasers so?

106. Waters wildly rushing spume-sown
and the flooding is quite deep.
There ye early found your tombstone
‘fore your ultimate defeat

107. Cussing, crying, hacking, gnarling
every larynx of the foes,
and the raging current gargling
every curse the anger throws

108. Umpteen horses crudely reeling
prancing on their hinder legs
startled neighing, stumbling, kneeling
stepping on strewn bodies, heads

109. Others for their comrades reaching
out to get some help and cough
others biting flesh and screeching
till they’re dead or ’tis clawed off

110. Myriad heads give in despondent
eyes are almost popping out,
staring stars cold, not respondent,
for the one last time no doubt

111. Now the tumult’s slowly ebbing
-adding to the river’s load-
horses’ neighs, men’s moaning, begging,
carried to their last abode

112. I would love to hear him booming,
the deep Ocean just like this,
hagarene spawn start consuming
with large waves in his abyss

113. … to where Hagia Sophia is lying
in between the seven hills,
every lifeless body drying
naked, crushed by rocky mills

114. … let the wrath of God reject them
piled in mountains and the mock
brother of the Moon collect them
from this godforsaken stock

115. Let each stone become a tombstone
so that both Religion and
Liberty may tread this doom zone
slowly, counting hand in hand

116. There, a carcass now emerging
supine on the surface, stiff
and another one submerging
disappearing in a jiff

117. … and the river’s still more raging
and the flooding waters loom
always, always fiercely waging
angry waves and frosty spume

118. Oh why couldn’t I take after
Moses’s orotund voice?
When the loathed were drowning, laughter
echoed and the hearts rejoiced,

119. … then he grateful started praising
God, before sea’s rage, aloud,
and his words resound while gazing
numberless beholden crowd.

120. Then they joined in dancing, stomping
Aaron’s sister and the girls,
Miriam the prophet whomping
on a timbrel ’round she twirls,

121. …the girls too around her hopping
with their arms stretched open wide,
flower-wreathed, sing with no stopping
with their timbrels, side by side

122. I do know thee by the direful
cutting edge of thy keen sword
I do know thine eye stare ireful
counting fast the lands restored

123. Aye, on these, ’tis celebrated,
no one beats thee, thou excel,
but thou art not unrelated
with the open seas as well

124. Element that spreads abounding
waves around the globe’s vast space
and is every land surrounding,
image of thine august grace

125. And when stirring, loudly roaring
terrorising every ear,
every wood feels peril soaring
and desires a sheltered pier

126. When with peacefulness ’tis sprucing
and the sun is shining high,
all the colours ’tis producing
of a bluer than blue sky

127. On the land, ’tis celebrated
no one beats thee, thou excel,
but thou art not unrelated
with the open sea as well

128. Countless the riggings massing,
crowded as the bushland’s heart
straining masts at full speed passing
full blown sails extend athwart

129. Thou art forwarding thy forces,
even if they’re few thou steer
skillfully inflicting losses,
raiding, burning, striking fear

130. I can see thee greedy staring
in the offing two big ones
and a deadly thund’rous flaring
strike thou wreakest with thy guns

131. It ignites, expands and’s burning,
blasts help flame-tongues with their binge,
all the sea around is turning
crimson with a gory tinge

132. Now the warlords are all drowning
not a single body spared.
Patriarch rejoice by counting
from the depths thou liest bared!

133. During Easter friends were meeting
with their enemies amiss
and their lips were trembling greeting
them and offering a kiss

134. On those laurels ye have scattered,
no, his foot he cannot press
and the hand ye kissed lies shattered,
no more, it can no more bless

135. Mourn ye all because the leader
of our church and our belief,
mourn ye, mourn, is hanging thither
like he were some murd’rous thief!

136. His mouth gaping open broadly
just hours after it received
the Lord’s Blood and the Lord’s Body
’tis as if he wants to give

137. …again the curse that he was shouting
just ‘fore he was done unright,
to whomever isn’t fighting
and ιs capable to fight

138. I can hear her rumbling, fighting
in the open sea, on land
and while roaring she’s igniting
an eternal flame that’s grand

139. The heart piecemeal shred and tested.
Wait! My hand aback she grips,
to stay silent I’m requested
by the finger on her lips

140. She turns ’round and hesitating
peers at Europe for three times
then her eyes turn concentrating
back on Greece, she says these lines:

141. Hear, my lads, ’tis like fete making
any war for you, no sweat,
and your knees are never shaking
in the face of any threat

142. All the forces are restraining
clear from you with sword in sheath,
one invincible’s remaining,
plucking off your laurel wreath

143. One, that when content, dog tired
you are coming back red hot,
slaked by victories and fired
ah, it stirs your mind and thought

144. ‘Tis Discord who holds beguiling
royal mace, the cunning shrew,
and to everyone she’s smiling,
saying “take it, thou shouldst too”

145. This slick mace she’s slyly showing
truly hath a splendid guise
touch it not, because ’tis stowing
bitter tears ere now and cries

146. From a voice that hates you madly,
nay lads, let it not be heard
that your clout is turning gladly
unto your own brother’s head

147. Let the foreign nations nother
think nor truly say with phlegm:
“If they’re hating one another
liberty is not for them”

148. Care for maces not a smidgen
all the blood that shall be shed
for the homeland and religion
worth the same outside who bled

149. For this blood ye aren’t prising
for your faith and homeland too
start, I pray you, compromising
kiss, embrace like brothers do

150. How much left, be not shortsighted,
how much more to win these wars!
Victory, if ye’re united
shall each single time be yours.

151. Oh ye heroes brave and cited
raise a Cross and loudly cry
with one voice, one heart, united:
“Noble Kings turn here thine eye!”

152. The one symbol ye all worship
is this one, for this ye all
see us gory and by curs hit,
struggling, back against the wall

153. They are always execrating
it, the curs, and dump on it
and its children decimating,
at its faith they scorn and spit

154. ‘Tis for this we’re shedding sleepless
christian blood unjustly too
that is screaming from the deepness
of the night: Revenge is due

155. Hark ye not, ye chosen vessels
of our God, this awful yell?
Now for centuries it deafens
not a moment did it quell

156. Hark ye not the clamour, rather
echoing like Abel’s blare?
No, the wind does not so wuther
nor ’tis howling o’er your hair!

157. Now what will ye? Will ye let us
to develop a free land
or perchance will ye beset us
just as politics command?

158. If this is what ye are deeming
here behold the Cross, review!
Noble Kings then come ye teeming!
Come ye swift and strike it too!

Dionysios Solomos

Born on April 8, 1798 on the island of Zakynthos, Solomos was the central figure of the Heptanese School of poetry. He studied in Italy for ten years before returning to Greece to write.

He is considered the national poet of Greece not only for his Hymn to Liberty, which quickly became the Greek National Anthem, but also for his contribution to Greek poetry overall.

Solomos not only wrote brilliant poetry but also contributed to the preservation of Greece’s earlier poetic tradition and highlighted its usefulness to modern literature.

Two of hisnotable poems are Ὁ Κρητικός (The Cretan), Ἐλεύθεροι Πολιορκημένοι (The Free Besieged).

Tragically, no poem of his other than the Hymn to Liberty was completed, and almost nothing else that he wrote was published during his lifetime.

The National Poet of Greece died on February 9, 1857. Since his poems were unfinished, they were later edited and published by his friend and fellow poet Iakovos Polylas.


CHRISTIAN BULLETIN BOARD IDEAS

To make this resource a bit easier for you to use, I have created a small table of contents. Clicking any of the links below will jump you down to that portion of the post.

DIY EPIPHANY BULLETIN BOARD

For this bulletin board, I used my Cricut to cut out 2D and 3D stars from glitter and foil cardstock. The large central star was cut out of dollar store poster board that I had painted with gold craft paint. The letters of the Bible passage were cut from black dollar store poster board. Finally, I bought a roll of holographic gift wrap from the dollar store and used strong scissors to cut it into slices (like cutting cinnamon rolls!). I unrolled those strips to create the gold stripes emanating from the star.

CHRIST’S BAPTISM BULLETIN BOARD

This was one of the least expensive bulletin boards I have ever done, and people loved it! I bought several colors of party streamers from the dollar store and used A LOT of staples to create this mosaic effect. I created the water by twisting blue streamers and stapling them in place to prevent drooping. The sunrise was created by rippling yellow, orange, and pink streamers in arc shapes. Because streamers are so flexible, it was very easy to make whatever shapes I needed. Just don’t get this bulletin board wet!

LENT BULLETIN BOARDS

I tend to keep Lent bulletin boards very simple. For this board, I bought a roll of kraft paper from the dollar store, unfurled it, and crumpled it up to give it texture. I smoothed it out and used that as the background for the bulletin board. I ripped a piece of red dollar store poster board to create the heart shape, and cut the Bible verse out of cardstock.

This was another very simple Lent bulletin board. I purchased this SVG from Hassified Designs on Etsy and cut it and the lettering out with my Cricut. This was actually the last bulletin board I did before schools shut down because of COVID last year, so it was up for quite a while!

TRANSFIGURATION SUNDAY BULLETIN BOARD

I used two lines from the Transfiguration hymn, “Down from the Mount of Glory,” for the inspiration for this board. I was hoping to show the stark difference between the majesty of Transfiguration with the humility Jesus endured on Good Friday.

The rays behind the mount of transfiguration are strips of light blue streamers. All the letters were cut from dollar store poster board.

LENT TO EASTER BULLETIN BOARD

I had the idea one year to create a Lenten bulletin board that would transform into an Easter bulletin board. To accomplish that, I first covered the board with bright blue paper and the Easter lettering (which was cut from gold holographic poster board from Michael’s). I then covered that up entirely with black paper, one piece on the left half of the board and one on the right.

Then I painted poster board to look like wood and cut it into a large cross shape. The cross was added to the center of the bulletin board right on top of the seams of the black paper. I added the Lent lettering as well.

I painted more dollar store poster board with black and orange paint and cut them into the shape of giant butterfly wings. I added glitter and rhinestones to make them very eye-catching.

The Lent board was up all during Lent, then on the Saturday before Easter I tore the black paper back and away and added the butterfly wings to the cross. I hoped that this would bring to mind Christ’s defeat of death and his resurrection on Easter!

BEGINNING OF THE SCHOOL YEAR BULLETIN BOARD

I cut all the letters and shapes for this bulletin board out using my Cricut machine. I found the neon cardstock at Michael’s (and used my 40% coupon to save some money!). I finished off the board with a composition notebook patterned border, also found at Michael’s.

REFORMATION BULLETIN BOARDS

This was my first dimensional bulletin board, and it was pretty easy to create! I created a hilly background with blue and green bulletin board paper. I bought several pieces of poster board, some craft foam, and a sponge at the dollar store. I used the sponge and some grey craft paint to stamp stone shapes onto the poster board. I used my Cricut to cut the craft foam into Luther seal banners and the doors to the fortress.

The two towers were created from one piece of poster board. I cut the poster board in half and then folded each side of each half back to create a flap that could be stapled to the bulletin board. I stapled the first flap securely to the board, gently bent the poster board into a half circle, and stapled the other flap to the bulletin board to create a dimensional tower.

The higher wall of the fortress is stapled flat to the bulletin board. Then I stapled two cardboard cereal boxes to the bulletin board with a bunch of staples. I stapled the front wall of the fortress to those boxes so that it stood out about 2 inches from the back wall. The banners and doors are just glued in place.

I turned several pieces of dollar store poster board into an illuminated Bible for this bulletin board. I painted the verses onto white poster board, and I cut a piece of black poster board into halves to serve as the covers. I stapled the poster board all together to create a book, and I stapled the front and back covers of the “book” onto the bulletin board (curving the covers a bit to add dimension). I was able to turn the “pages” so different Bible verses were visible each week.

The hymn title at the top of the board was cut out of poster board with my Cricut. I then used a gold paint pen to outline each letter.

THANKSGIVING BULLETIN BOARD IDEAS

This bulletin board looks like a lot of work, but it really wasn’t! I used yellow bulletin board paper for the background. I then painted a rough sunset with craft paint and a small paint roller.

After that paint dried, I crumpled up dollar store kraft paper and stapled it onto the side of the bulletin board to look like a tree with branches and roots. I bought a few packs of dollar store fall leaves and stapled them on the board to look like falling leaves. I followed this tutorial to make the rustic, dimensional pumpkins. The letters were all cut out of cardstock with my Cricut.

For this Thanksgiving board, I made a few large stamps out of scrap cardboard and craft foam. You can find a quick tutorial for making these kind of stamps here. I created a subtle pattern on the brown kraft paper background with gold craft paint. The lines from the hymn were cut out of poster board. Finally, I stapled some fall garlands onto the bulletin board to frame the words.

Dollar store kraft paper came in handy for the background of this bulletin board too! My Cricut cut the letters out of orange cardstock. Then I created an ombre of falling leaves using these shapes I bought from Amazon. Quick and easy!

CHRISTMAS BULLETIN BOARDS

I painted Christmas angels on dollar store poster board based on this technique from Amanda Evanston Art. I just cut my face-forward angels up the center to create side-profile angels. I added arms out of the scrap paper and halos and trumpets from gold glitter cardstock.

I painted large pieces of cardstock with the same colors of craft paint that I used on the angels. After the paint had dried, I used that paper to cut out the lettering of the Bible verse.

Gold glitter wrapping paper served as the background for this Christmas bulletin board. I cut the manger shapes and the letters from black poster board. If you want a tutorial for using your Cricut to cut shapes that are bigger than your Cricut mat, check out this post from my friend Cori.

I balled up a string of warm white fairy lights and tucked them behind the manger. The cord for the lights was fed behind the gold paper to hide it as much as possible.

This Christmas bulletin board is probably my favorite one that I’ve ever done. It was pretty impressive, but it wasn’t too hard to pull off. I cut the letters out of white poster board, but instead of using the letters I removed them and used the rest of the board. I covered the negative space from the letters with vellum, which helped to diffuse light. I taped a string of bright LED lights to the back of the poster board.

I added a white background to the board, and then stapled the bottom of the white poster board to the bulletin board, being careful not to staple through the lights. I then rounded the poster board slightly, so it wasn’t flat against the board and stapled the top of the poster board to the bulletin board. If you’ve done it properly the letters should look like they are glowing!

I had cut out tons of snowflakes using my Cricut (that was actually the most time consuming part!), and I stapled them all over the board. I threaded the cord from the lights behind the white paper background to hide it.

BULLETIN BOARDS BASED ON THE PSALMS

You can find Fadeless bulletin board paper on Amazon, and it is wonderful quality paper! I chose this galaxy paper for this bulletin board. I created the globe from blue and green dollar store paper. I used dollar store tulle to create the clouds.

Michael’s sells their own brand of cardstock, and I used a variety pack of glittery paper for the lettering. Finally, I used Glitterific craft paint and cheap rhinestones to add some more sparkle to the stars.

For this bulletin board, I used several colors of bulletin board paper which I ripped roughly to make wide strips. I layered the paper to create the look of a sunrise. The sun was cut from yellow poster board. I then used two pieces of green bulletin board paper to give the impression that the sun was rising over some hills.

I hope these Christian bulletin boards gave you some ideas to use in your own classroom. If you have any questions about how I created any of these designs, please ask in the comments!


8 Oldest Alcoholic Beverages in the World

Humans have a long history of drinking and making alcohol that spans over 9,000 years. While fermentation is a natural process, humans have purposely been creating alcohol since the early days of civilization. In fact, many researchers now believe that humans may have started settling down to cultivate grains for beer, rather than bread.

Research also suggests, that our love for alcohol may be a hardwired evolutionary trait. Humans and other primates are some of the only animals in the world who have a positive reaction to ethanol, which in moderate amounts, helps release serotonin, dopamine, and endorphins in the brain, chemicals that make us happy and less anxious. Our early human ancestors enjoyed eating naturally fermented fruit and would have been brave enough to venture down from the trees to eat these fallen fruits. Eventually, our ancestors started making their own alcoholic beverages and we haven’t looked back since.

8. Cacao Wine (Theobroma)

Year Created: c.1400 BCE
Country of Origin: Mesoamerica (oldest evidence from Honduras)
Derived From: Cacao

photo source: Proceedings of the National Academy of Sciences (PNAS)

Chocolate did not start out as we know it today, it was actually an alcoholic drink from Mesoamerica. According to researchers, the discovery of the natural fermentation of cacao fruits most likely influenced the ancient cultures of Mesoamerica to cultivate the cacao tree.

The researchers analyzed pottery shards from 1400 BCE that tested positive for theobromine, the chemical compound only found in cacao. This early cacao wine was made from the sweet pulp surrounding the fruit’s seeds. Like other ancient wines, cacao wine was a marker of wealth and was used in religious ceremonies. Cacao was so valuable to the Aztecs, that the beans were used as currency.

7. Ninkasi Beer

Year Created: c.1800 BCE
Country of Origin: Southern Mesopotamia, modern-day southern Iraq
Derived From: Bappir bread made from several grains, honey, and malt

photo source: Open Culture

The Hymn to Ninkasi, the Sumerian goddess of alcohol, contains the world’s oldest beer recipe. Beer was one of the most important drinks in Sumerian culture that they worshipped Ninkasi, who blessed their beer and brewing.

In the early 1990s, Miguel Civil, Professor of Sumerology at the University of Chicago, was the first to translate the hymn from clay tablets and discovered the beer recipe. The recipe calls for bappir bread, which was made from various grains, to be combined with honey and twice baked. The resulting granolalike food is then added to a mash with lots of malt and left to ferment.

After the release of Civil’s translation, Fritz Maytag, founder of the Anchor Brewing Company in San Francisco, recreated the beer and presented it to American Association of Micro Brewers in 1991. However, Maytag was unable to bottle the beer commercially because it is supposed to be enjoyed immediately.

6. Ancient Egyptian Herbal Wine

Year Created: c.3150 BCE
Country of Origin: Abydos, Upper Egypt
Derived From: Herbs, tree resins, and grape wine

photo source: Wikimedia Commons

Herbal wines from ancient Egypt were alcoholic beverages used a medicine rather than for recreation or enjoyment. These wines show that people have been using natural remedies for thousands of years. The Egyptians put herbs and tree resins in grape wine or beer to create effective plant remedies.

Archaeologists excavated the tomb of Scorpion I, one of ancient Egypt’s first rulers, and found a treasure trove of over 700 jars. They analyzed one of the jars that had a yellowish flaky residue and found the presence of tartrate, a principal biomarker for wine and other grape products in the Middle East. The chemical analysis of the jar supports previous written evidence that the Egyptians were practicing medicine – “physicians” were making diagnoses and providing treatments such as the herbal wines.

5. Barley Beer

Year Created: c.3400 – 3000 BCE
Country of Origin: Godin Tepe, Zagros Mountains, Iran
Derived From: Barley

photo source: Wikimedia Commons

The barley beer discovered at Godin Tepe in Iran is one of the earliest examples of beer made from cereal grains. Archaeologists analyzed a jug from between 3400 – 3000 BCE and found trace elements of the earliest known barley beer. The jar had a yellowish material that turned out to be beerstone (or calcium oxalate), a byproduct of barley beer production.

The barley beer was produced by the Sumerians who were big beer drinkers. In fact, one of the most common pictographs found on Sumerian artifacts is the symbol for beer. The Sumerians, and other civilizations of Mesopotamia, made a variety of beers, including light, dark, and amber beers, as well as sweet beers and specially filtered beers.

4. Chicha

Year Created: c.5000 BCE
Country of Origin: Andes Region of South America
Derived From: Maize (corn)

photo source: Wikimedia Commons

Chicha, one of the most important cultural and ceremonial drinks in the Andes region of South America, has been around for over 6,000 years. Archaeologists discovered pottery dating back to around 5000 BCE, which was used to grind the maize (corn) to make and store the chicha.

According to researchers, the Inca used chicha like we use coffee today. Workers, who were tasked with cultivating the Inca’s most important crop, corn, would drink chicha during and after work. The Inca also used chicha as an offering to their gods and ancestors. Additionally, human sacrifices were rubbed down with chicha before the sacrificial ceremony.

3. Hajji Firuz Tepe Wine

Year Created: c.5400 – 5000 BCE
Country of Origin: Hajji Firuz Tepe, Zagros Mountains, Iran
Derived From: Grožđe

photo source: Penn Museum

Before the recent discovery of older wine from Georgia, the wine found at the Hajji Firuz Tepe archaeological site in Iran was considered the world’s earliest wine. Following the excavation of Hajji Firuz Tepe, researchers analyzed the yellowish residue inside of a jar and discovered that it was grape wine.

The jar was found with five other similar jars in what may have been the kitchen area of a Neolithic mudbrick building. The jars also contained traces of terebinth tree or pine resin, which was added to the wine as a preservative. There is also evidence that the people of Hajji Firuz made both red and white wine.

2. Georgian Wine

Year Created: c.6000 – 5800 BCE
Country of Origin: Tbilisi, Georgia
Derived From: Grožđe

photo source: The New York Times

Although there is evidence of an older alcoholic beverage from China, this Neolithic wine from Tbilisi, Georgia has been declared the oldest wine in the world, according to Guinness World Records. The Georgian wine is about 8,000 years and was found at an archaeological site called Gadachrili Gora. Researchers unearthed several jars that showed the people in the Neolithic people of this area loved grapes. Their pottery is decorated with grapes and an analysis of the pollen from the site suggests that the hillside used to be covered in grapevines.

The ancient people of Gadachrili Gora have been declared the world’s earliest winemakers. There is strong evidence that they were already producing wine on a large scale as early as 6000 BCE.

1. Chinese Fermented Beverage

Year Created: c.7000 – 6600 BCE
Country of Origin: Jiahu Neolithic Village in Henan Province, China
Derived From: Rice, honey, hawthorn fruit/and or grape

photo source: Wikimedia Commons

photo source: Proceedings of the National Academy of Sciences (PNAS)

In 2004, a scientific study was released revealing that Neolithic jars from Jiahu, China had traces of a fermented beverage. This “wine” was made from rice, honey, and hawthorn fruti/and or grape around 7000 – 6600 BCE, making it the oldest alcoholic beverage in the world with definitive proof. Jiahu

Scientists analyzed shards of pottery from 16 different vessels to determine what this Chinese fermented beverage was made from. The research team said that this early alcohol was the precursor to later fermented cereal beverages found in sealed jars from the Shang and Zhou Dynasties (c. 1250-1000 BCE). In 2005, Dogfish Head Brewery in Milton, Delaware, USA recreated this neolithic drink and called it Chateau Jiahu.


The Met's Anniversary Tribute: Thoughtful ‘Fidelio’

The most solid of tributes to Beethoven on his 200th birthday, a new production of his only opera, was the Metropolitan Opera's con tribution to the centennial. “Fidelio” was given last night, timed to the exact day. Thus this city held up its head on a day when Bee thoven anniversaries were being celebrated in many cities of the world.

“Fidelio” has always, of course, been unique. As operas go, it may not be the best constructed, or the most singable, or the most credible. Or a good many things. But it has the terrific power that is characteristic of Bee thoven, a power in this case animated by certain human istic trends out of the French Revolution. Few operas have the dignity of purpose that “Fidelio” has—the hymn to liberty and freedom, the paean to matrimony.

This production of “Fi delio,” as do all responsible productions, makes a serious effort to come to terms with the spirit and atmosphere of the opera. Boris Aronson, who designed the sets and costumes, has worked in a semi‐stylized manner that stems from the Expressionis mus of the nineteen‐twenties. He has designed a darkly threatening series of sets: a grimly place, as Malory would say. This is a dank, moldering prison, touched by decay and death. If Mr. Aron son has been a little too ob vious in his symbolism, at least it works.

Otto Schenk's staging is generally direct and to the point. He has avoided the silent‐film melodramatic touches that have for in stance, Pizarro lurching around like the heavy in an old Western. Nor has he made the figure of Leonard/ Fidelio preposterous. It is clear that he has worked with the individual potentiali ties of his cast in mind, play ing to strength, making the most of ‘whatever dramatic capabilities the singers have.

The cast is a good one— not a dream cast, but group of sound, reliable art ists headed by a most ex perienced conductor. In way this is a conductor's opera, and Karl Bohm was in the pit. A popular figure at the Metropolitan Opera, he was greeted with an ova tion when he entered, and an even stronger one beginning the second act.

He may be a septuagen arian, but there was nothing old or tired about his work. He really moved “Fidelio” along, with fast tempos,

great exuberance and a few enthusiastic climaxes that gave the singers a bit of trouble. Always there was the hand of a fine musician inbred into the idiom.

Leonie Rysanek sang the title role. She was not in as good voice as she has been in previous “Fidelio” per formances, and she did not make the “Abscheulicher” sound easy. But in the sec ond act, especially in her initial confrontation with Florestan (sung by Jon Vick ers), she sang in a heartfelt manner, with infinite femi ninity, and her work was

curiously appealing, old fashioned movements and gestures and all. Her cos tume aroused a great deal of comment she looked like Octavian in the underworld. Would that aristocratic jack et have been worn by a hard‐working, menial, jailer's loblolly boy?

Mr. Vickers was in fine voice, showing no effects of his recent indisposition. He, too, has appeared in past Metropolitan Opera “Fidelio” performances, but never to such good effect, and never with the feeling of suffering he conveyed last night. This was a broken man, yet still proud and defiant. With voice, figure and movement, Mr. Vickers depicted a Flor estan than can be placed with the great ones in Metro politan Opera annals.

Several singers were ap pearing in this opera for the first time. Chief among these were Walter Berry ‘as Pizar ro, Giorgio Tozzi as Rocco and Judith Blegen as Mar

zelline. Mr. Berry, without hamming it up, was every bit a menace in the best Gauleiter manner, his long military coat adding to the illusion and he sang with strength. Mr. Tozzi sang and acted beautifully. The role lies perfectly for his voice.

As for Miss Blegen, she has a fresh‐sounding lyric soprano and is a good actress —a little too much in per petual motion at this per formance, but that will clear up. Once or twice she at tempted to push her voice beyond its normal compass. But she really does not have to force so well‐placed a voice, and it is to be hoped that she does not develop shouting habits.

Thus was honor done to Beethoven ‐on his 200th birth day. The message of “Fidelion• came through strongly, and opera‐lovers should take ev ery opportunity of “bearing so noble a work so competently presented.

FIDELIO, opera In two acts by Ludwig van Beethoven. Libretto by Joseph Sonnlethner and Georg Friedrich Sonn lelthner, after the play by Jean Nicolas Bouiily. Karl Boehm, conductor di rected by Otto Schenk sets and cos tumes by Boris Aronson. At the Metropolitan Opera.


The Hymn to Liberty Cocktail - Recipes

Yes, there is a right way and plenty of wrong ways. You may be stripping out some of the carbon dioxide, losing the aromatics or not putting enough head on it. The type of beer you are drinking can be adversely affected in different ways.

A little wiki about beer

Beer is the world’s most widely consumed alcoholic beverage it is the third-most popular drink overall, after water and tea. It is thought by some to be the oldest fermented beverage.Beer is produced by the saccharification of starch and fermentation of the resulting sugar. The starch and saccharification enzymes are often derived from malted cereal grains, most commonly malted barley and malted wheat.Unmalted maize and rice are widely used adjuncts to lighten the flavour because of their lower cost. The preparation of beer is called brewing. Most beer is flavoured with hops, which add bitterness and act as a natural preservative, though other flavourings such as herbs or fruit may occasionally be included. Some of humanity’s earliest known writings refer to the production and distribution of beer: the Code of Hammurabi included laws regulating beer and beer parlours and “The Hymn to Ninkasi”, a prayer to the Mesopotamian goddess of beer, served as both a prayer and as a method of remembering the recipe for beer in a culture with few literate people.

Beer is one of the world’s oldest prepared beverages, possibly dating back to the early Neolithic or 9500 BC, when cereal was first farmed and is recorded in the written history of ancient Egypt and Mesopotamia Archaeologists speculate that beer was instrumental in the formation of civilisations. [13]

The earliest known chemical evidence of barley beer dates to circa 3500–3100 BC from the site of Godin Tepe in the Zagros Mountains of western Iran.Some of the earliest Sumerian writings found in the region contain references to a type of beer one such example, a prayer to the goddess Ninkasi, known as “The Hymn to Ninkasi”, served as both a prayer as well as a method of remembering the recipe for beer in a culture with few literate people.The Ebla tablets, discovered in 1974 in Ebla, Syria and date back to 2500 BC, reveal that the city produced a range of beers, including one that appears to be named “Ebla” after the city. A fermented beverage using rice and fruit was made in China around 7000 BC.

Beer was spread through Europe by Germanic and Celtic tribes as far back as 3000 BC and it was mainly brewed on a domestic scale. The product that the early Europeans drank might not be recognised as beer by most people today. Alongside the basic starch source, the early European beers might contain fruits, honey, numerous types of plants, spices and other substances such as narcotic herbs. What they did not contain was hops, as that was a later addition, first mentioned in Europe around 822 by a Carolingian Abbot and again in 1067 by Abbess Hildegard of Bingen.

Godine 1516. Viljem IV, vojvoda od Bavarske, usvojio je Reinheitsgebot (purity law), perhaps the oldest food-quality regulation still in use in the 21st century, according to which the only allowed ingredients of beer are water, hops and barley-malt. Beer produced before the Industrial Revolution continued to be made and sold on a domestic scale, although by the 7th century AD, beer was also being produced and sold by European monasteries. During the Industrial Revolution, the production of beer moved from artisanal manufacture to industrial manufacture, and domestic manufacture ceased to be significant by the end of the 19th century. . The development of hydrometers and thermometers changed brewing by allowing the brewer more control of the process and greater knowledge of the results.


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