Recent Sappho Fragments (2004, 2014)

Source.
Translations of the last Sappho fragments recovered (2004).

Translation of the Sappho fragment (discovered 2013). Tom Payne translator.

Still, you keep on twittering that Charaxos
comes, his boat full. That kind of thing I reckon
Zeus and his fellow gods know; and you mustn’t
make the assumption;

rather, command me, let me be an envoy
praying intensely to the throne of Hera
who could lead him, he and his boat arriving
here, my Charaxos,

finding me safely; let us then divert all
other concerns on to the lesser spirits;
after all, after hurricanes the clear skies
rapidly follow;

and the ones whose fate the Olympian ruler
wants to transform from troubles into better –
they are much blessed, they go about rejoicing
in their good fortune.

As for me, if Larichos reaches manhood,
[if he could manage to be rich and leisured,]
he would give me, so heavy-hearted, such a
swift liberation.

Mini Ching by Sheila Heti/Ted Mineo (2013)

Mini Ching.

Excerpt.

2. GRACE (#22)

There are times when the world appears perfectly balanced. Heaven and earth, top and bottom, are in harmony, and surface and depth are aligned. This state of grace is delicate, fragile and transitory. It is not a state one can remain in for long. It implies the beauty of ornament and surfaces. So make this a time when you focus on smaller things. Relish the perfection of everything natural. Find and appreciate tranquillity. Be still. This is not a time to contemplate or make far-reaching decisions.

When you make the transition from this momentary place, how should you proceed?

In preparation for any journey, great or small, one must choose the right clothes to wear on the journey. You must pay attention to your hair, your shoes, your suitcase, everything you are bringing. Any journey to a new place must be set out for in the proper manner, a manner that will show esteem for the new environment, and one’s self in that new place. There is no good in setting off for a new country wearing tennis shoes and pyjamas. First, consider where you are going, then undertake the appropriate rites. The quality of care you give to the smallest details reveals a lot about you, and affects where you end up. So set yourself right before you set off. Set your home right, and put things in their proper places. These small arrangements and decisions are the seeds of significance. They foretell how you will be received in the new land, and what the new land will be. Show respect in all aspects of your being, even the tiniest. Show respect for the place you are entering – which is always the future. Then you will be ushered forth smoothly, not led toward an undesirable realm against your dreams.

The Interior Castle by St. Teresa of Avila (1577)

The First Mansions
Chapter I. Description of the Castle
Chapter II. The Human Soul.

The Second Mansions
Chapter I. War.

The Third Mansions
Chapter I. Fear of God
Chapter II. Aridity in Prayer

The Fourth Mansions
Chapter I. Sweetness in Prayer.
Chapter II. Divine Consolations
Chapter III. Prayer of Quiet

The Fifth Mansions
Chapter I. Prayer of Union
Chapter II. Effects of Union
Chapter III. Cause of Union
Chapter IV. Spiritual Espousals

The Sixth Mansions
Chapter I. Preparation for Spiritual Marriage
Chapter II. The Wound of Love
Introductory Note to Chapter III by the Editor
Chapter III. Locutions
Chapter IV. Raptures
Chapter V. The Flight of the Spirit
Chapter VI. Spiritual Jubilation
Chapter VII. The Humanity of Our Lord
Chapter VIII. Intellectual Visions
Chapter IX. Imaginary Visions
Chapter X. Intellectual Visions Continued
Chapter XI. The Dart of Love

The Seventh Mansions
Chapter I. God's Presence Chamber
Chapter II. Spiritual Marriage
Chapter III. Its Effects
Chapter IV. Martha and Mary
Epilogue

Index

The Sibylline Oracles (6th c bc)

In full.


"As the translator notes, this collection should more properly titled 'the Pseudo-Sibylline Oracles'. The original Sibylline Books were closely-guarded oracular scrolls written by prophetic priestesses (the Sibylls) in the Etruscan and early Roman Era as far back as the 6th Century B.C.E. These books were destroyed, partially in a fire in 83 B.C.E., and finally burned by order of the Roman General Flavius Stilicho (365-408 C.E.).


There is very little knowledge of the actual contents of the original Sibylline Books. The texts which are presented here are forgeries, probably composed between the second to sixth century C.E. They purport to predict events which were already history or mythological history at the time of composition, as well as vague all-purpose predictions, especially woe for various cities and countries such as Rome and Assyria."

Lorca - Ode to Walt Whitman

In full.

Blues Lyrics and Hoodoo

This includes both primary and secondary songs. Source.

(field transcription, uncredited) Cotton-Eyed Joe (hoodoo) pre-1925 Arnold, (James) Kokomo Old Black Cat Blues (Jinx Blues) (black cat, jinx) 1935 Arnold, (James) Kokomo  Policy Wheel Blues (Jinx Blues) (policy dream books) 1935 Batts, Will Country Woman Blues (goofer dust) 1933 Black Spider Dumpling  Blake, Blind (Arthur) Policy Blues (policy dream books) Blake, Blind (Arthur) Panther Squall Blues (jinx) 1928 Bogan, Lucille (with Spoken parts by Papa Charlie Jackson)  Jim Tampa Blues (jomo, black cat bone) 1927 Brown, Bessie Hoodoo Blues (goofer, gris-gris, spider dumpling, black cat bone, shoes) 1924 Brown, Gabriel Jinx Is On Me (jinx, gypsy, card reading, numbers) 1945 Carter, Bo (Armentier Chatmon) The Ins and Outs of My Girl (jinx) 1936 Carter, Big Lucky (Levester Carter) Goofer Dust (goofer dust, dragon's blood, etc.) 1968 Chatmon, Harry Hoo Doo Blues (hoodoo, palmistry, horseshoe) 1935 Chicago String Band Hoodoo Blues (hoodoo, gambling) Clayton, Dr. (Peter) Root Doctor Blues (double entendre on root work) 1946 Cox, Ida Fogyism (black cat, etc.) 1928 Gypsy Glass Blues (Gypsy) 1927 Mojo Hand Blues (mojo) 1927 Crudup, Arthur "Big Boy" Hoodoo Lady (hoodoo lady, hoodoo hand) 1947 Dixon, Willie I Ain't Superstitious (bad luck omen list) 1962 Gibson, Clifford  Don't Put That Thing On Me (conjure, hoodooing male nature) 1929 Gillum, Jazz  The Blues What Am (bad luck omen list) 1947 Hand Reader Blues (fortune teller, herb tea, good luck pills) 1947 Harlem Hamfats Hoodooin' Woman (hoodoo, fix, spread stuff) 1937 Harris, Wynonie Conjured (foot-track magic, graveyard dirt, etc.) 1964 Henry, Waymon "Sloppy"  Jomo Man Blues (jomo, lodestone, john the conquer, goofer dust) 1928 Hogg, Andrew "Smokey" I Bleed Through My Soul (black cat bone) c.1950 Hopkins, Lightning Mojo Hand (mojo) 1960; also a later version, undated House, Son The Jinx Blues [No. 1 and No. 2] (jinx, Gypsy) 1942 Hudson, Hattie Doggone My Good Luck Soul (black cat, horseshoe, rabbit foot) 1927 Hunter, Ivory Joe I Almost Lost My Mind (Gypsy) 1950 Jackson, Papa Charlie  Bad Luck Woman Blues (jinx, rat's [?] foot) 1924 Jefferson, Blind Lemon  Bad Luck Blues 1926 Broke and Hungry Blues (black cat bone) 19-- (INCOMPLETE) Dry Southern Blues (implied menstrual blood in coffee) 1926 Low Down Mojo Blues (mojo) Lemon Rambler Blues (jinx) 1927 Johnson, Merline Sold It to the Devil (crossroads ritual) 1937 Johnson, Robert Little Queen of Spades (mojo) 1937 Johnson, Robert Hellhound on My Trail (Hot Foot Powder) Stones In My Passway (foot-track magic) 1938 Jones, Curtis Black Gipsy Blues (Black Gypsy) 1938 Black Magic Blues (hoodoo) Jordan, Charley (with Charlie Manson) I Couldn't Stay Here (jinx) 1936 Jordan, Louis Somebody Done Hoodooed the Hoodoo Man (hoodoo) 1939 Lenoir, J. B. The Mojo, a.k.a. Mojo Boogie, Voodoo Boogie (jack ball) 1953, etc.

Lewis, Furry Black Gypsy Blues (Black Gypsy) 1929 Lightnin' Slim (Otis Hicks) Hoo Doo Blues (hoodoo) Lincoln, Charlie (Charlie Hicks, Laughing Charley) Mojoe Blues (mojo, hoodoo) 1957 Lofton, Cripple Clarence I Don't Know (goofer dust) 1939 Lofton, Cripple Clarence Strut That Thing (goofer dust) 1935 Lonesome Sundown (Cornelius Green) I'm a Mojo Man (mojo) 1957 Mabon, Willie I Don't Know (goofer dust) 1952 / 1953 Memphis Jug Band (with Will Shade) Aunt Caroline Dyer Blues (Aunt Caroline Dye, mojo) 1930 Memphis Jug Band (with Will Shade)I Whipped My Woman With A Singletree (Black Gypsy) 1930 Memphis Jug Band (with Hattie Hart) Spider's Nest Blues (spider, toby) 1930 Memphis Minnie (Lizzie Douglas) Hoodoo Lady (hoodoo woman) 1936 Moss, Buddy Jinks Man Blues (jinx) Nelson, Romeo Gettin' Dirty Just Shakin' That Thing (goofer dust) 1929 Otis, Johnny Castin' My Spell (mentions many hoodoo beliefs) 1950s Patton, Charlie Revenue Man Blues (jinx) 1934 Rainey, Ma Black Cat Hoot Owl Blues (bad luck beliefs) 1927 Rainey, Ma Black Dust Blues (goofer dust) 1928 Rainey, Ma Louisiana Hoo Doo Blues (Algiers, hand, hoodoo, goofer) 1925 Red, Tampa (Hudson Whittaker) and Georgia Tom Dorsey The Duck Yas-Yas-Yas (hoodoo women) 1929 Ross, Dolly Hootin' Owl Blues (bad luck beliefs) 1927 Shade, Will (Memphis Jug Band) I Whipped My Woman with a Singletree (gypsy) 1929 Shines, Johnny Hoodoo Snake Doctor Blues (hoodoo doctor) 1970 Smith, Bessie Lady Luck Blues (horseshoe, goofer dust) 1923 Smith, Elizabeth Gwine To Have Bad Luck Seven Years (bad luck women list) Spand, Charlie Big Fat Mama Blues (goofer dust) 1930 Evil Woman Spell (hoodoo woman) 1931 Hoodoo Woman Blues (hoodoo woman) 1940 Spivey, Victoria Hoodoo Man Blues (hoodoo man) 1926 Stokes, Frank Bedtime Blues (Goofer Dust) 1928 Tampa Red (Hudson Woodbridge / Hudson Whittaker) Anna Lou Blues (mojo hand) Temple, Johnnie Hoodoo Women (Aunt Caroline Dye, hoodoo) 1937 Torey, George Lonesome Man Blues (jinx) 1937 Towel, Jim I've Been Hoodooed (hoodoo, rabbit foot, foot track) 1928 Twitty, John D. (Black Spider Dumpling) Sold It to the Devil (crossroads ritual) 1937 Washboard Sam Hand Reader Blues (fortune teller, herb tea, good luck pills) 1938 Washboard Sam Suspicious Blues (many bad-luck beliefs) 1938 Waters, Muddy (McKinley Morganfield) Louisiana Blues (mojo) 1950 Weldon, Casey Bill (Casey Will Weldon) Jinx Blues (jinx) Wells, Junior Hoodoo Man Blues (reworking of SBW's "Hoodoo Hoodoo") 1953 & 1965 Wheatstraw, Peetie Last Week Blues (jinx) 1934 Wheatstraw, Peetie Cut Out Blues (policy, jinx) 1936 (INCOMPLETE) Wiley, Arnold Spider in Your Dumpling (spider dumpling, live things) 1920s Williams, Albert Hoodoo Man (Memphis Al) (hoodoo man) 1963 Williams, Big Joe Jinx Blues (jinx) 1963 Williams, Robert Pete Black Cat Bone (black cat bone) 1961 Wiliamson, John Lee "Sonny Boy" Hoodoo Hoodoo (hoodoo, mojo) 1946

Double Rainbow Transcript (2010)

Source.
Original Youtube Video. 

"Whoa, that’s a full rainbow all the way. Double rainbow, oh my god. It’s a double rainbow, all the way. Whoa that’s so intense. Whoa man! Wow! Whoa! Whoa! Whoa ho ho oh my god! Oh my god! Oh my god! Woo! Oh wow! Woo! Yeah! Oh ho ho! Oh my god! Oh my god look at that! It’s starting even to look like a triple rainbow! Oh my god it’s full on! Double rainbow all the way across the sky! Oh my god. Oh my god. Oh god. What does this mean? Oh. Oh my god. Oh. Oh. God. It’s so bright, oh my god it’s so bright and vivid! Oh. Ah! Ah! It’s so beautiful! [Crying? Laughing?] [Pretty sure he’s crying.] [Now he’s laughing and crying.] Oh my god. Oh my god. Oh my god! Oh my god, it’s a double complete rainbow! Oh right in my front yard. [Laughter] Oh my god. Oh my god, what does it mean? Tell me. [Crying] Too much. I don’t know what it means. [Laughter] [Heavy breathing] Oh my god it’s so intense. Oh. Oh. Oh my god."

Proclus Diadochus - On The Sacred Art (411-485 AD)

Source.

Another interesting description of pagan and neoplatonic theology.

Proclus Diadochus - On the Signs of Divine Possession (411-485 AD)

Source.

Neoplatonism is, among other more obvious, archaically celebrated things, the speculative, pagan, magic and theological gutters of the thought experiment that begins well before Plato and finds utterance in sources well beyond The West, but that abets its "spirituality." Below is a tract which describes the appearance of a God, a recognition aided by visible occurrence, related both to poetic inspiration and one's relative state of grace before, amongst nature. Preserved in Byzantine, Christian writer Psellus’ text: Accusation against Michael Cerularius before the Synod.


"He [i.e. Proclus] speaks first about the differences which separate the so-called Divine Powers, how some are more material and others more immaterial, some joyous (hilarai) and others solemn (embritheis), some arrive along with daemons and others arrive pure. Straight afterwards he goes on to the proper conditions for invocation: the places in which it occurs, about those men and women who see the Divine Light, and about the divine gestures (schêmatôn) and signs (sunthêmatôn) they display. In this way he gets around to the Theagogies of divine inspiration (tas entheastikas theagôgias)[a theagôgia is a drawing in or drawing down of the divine]. "Of which, " he says "some act on inanimate objects and others on animate beings: some on those which are rational, others on the irrational ones. Inanimate objects, " he continues "are often filled with Divine Light, like the statues which give oracles under the inspiration (epipnoias) of one of the Gods or Good Daemons. So too, there are men who are possessed and who receive a Divine Spirit (pneuma theion). Some receive it spontaneously, like those who are said to be ‘seized by God’ (theolêptoi), either at particular times, or intermittently and on occasion. There are others who work themselves up into a state of inspiration (entheasmôn) by deliberate actions, like the prophetess at Delphi when she sits over the chasm, and others who drink from divinatory water". Next, after having said what they have to do [i. e. to gain divine inspiration], he continues "When these things occur, then in order for a Theagogy and an inspiration (epipnoian) to take effect, they must be accompanied by a change in consciousness (parallaxia tês dianoias). When divine inspiration (entheasmôn) comes there are some cases where the possessed (tôn katochôn) become completely besides themselves and unconscious of themselves (existamenôn…kai oudamôs heautois parakolouthountôn). But there are others where, in some remarkable manner, they maintain consciousness. In these cases it is possible for the subject to work the Theagogy on himself, and when he receives the inspiration (epipnoian), is aware of what it [i.e. the Divine Power] does and what it says, and what he has to do release the mechanism [of possession](pothen dei apoluein to kinoun). However, when the loss of consciousness (ekstaseôs) is total, it is essential that someone in full command of his faculties assists the possessed". Then, after many details about the different kinds of Theagogy, he finally concludes: "It is necessary to begin by removing all the obstacles blocking the arrival of the Gods and to impose an absolute calm around ourselves in order that the manifestation of the Spirits (pneumata) we invoke takes place without tumult and in peace (atarachos kai meta galênês)". He adds further "The manifestations of the Gods are often accompanied by material Spirits which arrive and move with a certain degree of violence, and which the weaker mediums cannot withstand."

Frank Lima's Sacttered Vignettes

Frank Lima's Scattered Vignettes.

One of the few contemporary poems I stumbled across in my adult life and felt it contained a world within that I could inhabit, Frank Lima's Scattered Vignettes remains for me one of the most magical sustained invocations of language (English).

Elsewhere in this quixotic library and toy store, I have collected material of those who address misery by making an aesthetic object of consumption out of it. That is, while enjoyable, often, the trap. One cannot possess meaninglessness (the ultimate ghost of upheaval and trauma) by turning it into a product, buying and consuming it. Meaninglessness is more elusive than, say, delicious candy. In meaninglessness (death, violence, despair), the hunger is not sated by eating more of the same.

The groping towards any space of serenity in this relationship between observer, meaning and world, one that retains not only the images of trauma, violence and beauty but also the meaninglessness of those very things which make our time here storied, would require one to communicate or build something actually transformative.

This is not easy. Misery has stubbornly resisted prognostication and prescriptions, as in Marx, or magical solutions, as in Fascism. Often it hovers just outside the purview of Liberalism, the phantom limits of its ability to act. The nostalgia of religious fanaticism can only hold it at bay for so long. Ignoring it does not dispel it.

Frank Lima, so despairing, so ritually beautiful in his figures, so uncomplicatedly attuned to myth and the ceremonial gestures of magic, in a matter of a few pages, manages to cover a continental scourge of difficult and ambivalent territory. The miracle in these vignettes is how he never drops out of poetic voice. He takes things that are already meaningless (failed lives, the sad household objects that are the props for traditional magic) and uses them to help communicate the ultimate things, which are generally resistant to meaning (violence, ultimate taboos, spirit). Somehow the ineffable--by sheer conjuration of this sensitive but semantically perilous alchemy--manages to pass through.

For More on Frank Lima:
Here is an interview.

Nō Plays (Japanese Texts and English Translations)

An Introductory History of Noh and Kyogen.

Aoi no Uye
Aya no Tsuzumi
Hagoromo
Izutsu
Kagekiyo
Kumasaka
Matsukaze
Nonomiya
Sekidera Komachi
Semimaru
Sotoba Komachi
Takasago
Tsunemasa

Just stories, with stage directions, in English.
The Nō Plays of Japan by Arthur Waley (1921)