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Hyperion, John Keats
Hyperion John Keats
The following entry presents criticism of Keats's epic poem Hyperion, comprised of two unfinished versions, written in 1818 and 1819 respectively. See also, John Keats Criticism.
Constructed as two poems, Hyperion and its attempted revision as The Fall of Hyperion are considered important works by John Keats. Although both were unfinished, these poems are some of Keats's most ambitious and successful writings, within which he integrates his theories of aesthetics with his ideas on mortality and morality. In drawing upon mythology and earlier poets' works in the Hyperion poems, Keats addressed issues that were pivotal in the Romantic period, including concerns about beauty and truth, imagination, knowledge, and the connection between art and life.
Biographical Information
Hyperion was undertaken during what many critics consider Keats's most intense period of creative productivity, a period also marked by personal difficulties. After embarking upon a walking tour of Scotland and the Lake District, Keats returned home creatively energized. His publication of Endymion in 1818 drew harsh reviews, some of which included personal attacks. More significantly, his brother Tom's tuberculosis had worsened, and Keats felt responsible for his brother's care. Letters Keats wrote to his friends during this period indicate Keats felt divided between his obligations to Tom and his obligations to his poetry. After Tom's death in December 1818, Hyperion remained unfinished; Keats abandoned the poem entirely by April 1819. Late in 1819, after he had met and fallen in love with Fanny Brawne, Keats began to revise Hyperion extensively. By that time Keats was suffering from the advanced stages of tuberculosis, which eventually precluded him from working and left the revision, like the first version, incomplete. The Fall of Hyperion, as it is now titled, remained unpublished until 1856, long after Keats's death in 1821.
Plot and Major Characters
Stylistically and thematically influenced by earlier works, the Hyperion poems demonstrate Keats's interest in and response to classic literature. Hyperion exists in two fragmented versions, with narratives drawn from Greek mythology, and the second poem attempts to revise the first. It is stylistically different from the earlier poem, adding a long prologue and altering the poem's structure and theme. Reactions to these two versions vary: some critics consider The Fall of Hyperion mostly a revision, others claim it is an entirely new work, and yet others see it as a continuation of the first version.
Hyperion relates the fall of the Titans, elemental energies of the world, and their replacement by newer gods. The Olympian gods, having superior knowledge and an understanding of humanity's suffering, are the natural successors to the Titans. Keats's epic begins after the battle between the Titans and the Olympian gods, with the Titans already fallen. Hyperion, the sun god, is the Titans' only hope for further resistance. The epic's narrative, divided into three sections, concentrates on the dethronement of Hyperion and the ascension to power of Apollo, god of sun and poetry. Book I presents Saturn fallen and about to be replaced and Hyperion threatened within his empire. At the council of the Titans, Book II, Oceanus advocates acceptance of their inevitable defeat, though his speech is contrasted with those of other Titans. In the unfinished Book III, Apollo undergoes his transformation into the new ruling god. He meets with Mnemosyne, or memory and the mother of the Muses, in order to assume his powers and to attain immortality.
The Fall of Hyperion is darker than Hyperion, with the former suggesting that beauty can only be achieved through pain, and that poetry is incomplete if it evades and leaves unexpressed the suffering of humanity. In this fragment, the poet occupies the space of the poem in a dream-vision. The Poet asks for help, and he receives the vision of the fall of Hyperion and the ascension of Apollo, elements which structure the first Hyperion. The action begins in a forest, where the speaker, consciously portrayed as the Poet, consumes fruits and drinks a toast to all poets. This drink initiates a dream-vision where the Poet meets a Muse figure, Moneta, who challenges the Poet to ascend to the world of art, where fame offers a type of immortality. Although humbled by this challenge, the speaker enters a holy shrine to poetry, where he undergoes a death and rebirth. The Muse and the Poet debate the nature of poetry, happiness, visionary experience, and the role of the poet in the modern world. Moneta distinguishes poets from dreamers, whose imaginations focus only on individual ideals. True poets have awakened their imaginations to tragic pain but attempt to redeem sorrow with compassion and visionary acceptance. Moneta permits the speaker to enter the temple of Saturn, and she reveals to him her story. The Poet then describes Moneta's vision of the decline of the Titans. The speaker empathizes with the gods, and his ability to feel pain and suffering through imagination defines him as a Poet. The remainder of the poem narrates the laments of the Titans as they are replaced by the Olympian powers and led by Apollo. It ends with the introduction of Hyperion, who attempts to lead the final fight of the Titans against the new gods.
Major Themes
The thematic differences between the two versions of Hyperion have been extensively addressed by a wide variety of critics. In addition to Greek mythology, both poems draw from earlier poetic works, including Milton's Paradise Lost which is both imitated and challenged. Hyperion is often considered Miltonic in style and theme, and The Fall of Hyperion has been compared to Dante's The Divine Comedy, in terms of its structure as a dream-vision and in its use of a Muse figure.
Many themes introduced in the Hyperion poems are identifiable as those associated with Romanticism. Hyperion, which marks the exchange of the old powers for the new, addresses ideas about poetry, beauty, knowledge, and experience. These ideas are also present in The Fall of Hyperion. Hyperion's dominant themes address the nature of poetry and its relationship to humanity. The narrative suggests a thematic consideration of progress, particularly toward enlightenment and depictions of beauty, even as it evokes classical ideals found in Greek mythology. Visual and verbal representations, in the use of language and of Greek sculptural forms, contribute to this exploration. Through his representation of gods, Keats's commentary on Romantic opposites includes the real and ideal, history versus myth, finite versus infinite. The theme of truth is also prevalent. The speech of Oceanus and the ascension of Apollo both point to Hyperion's concern with truth and its relationship with beauty, knowledge, and suffering. Truth is closely associated with knowledge and both are acquired through pain, which results from the understanding and acceptance of change and impermanence. However painful, truth is pure and beautiful, and what is beautiful is eternal. It is this honorable truth that the human spirit strives to attain.
The structure of The Fall of Hyperion, assessed as a conscious integration of the Poet and his debates with Moneta, encourages a thematic consideration of the nature of art and beauty. In this version, the significance of the imagination is central. Here, the dream-vision structure emphasizes the Romantic tension between material representations and inner visions. The immortality offered by art, as opposed to human mortality or divine immortality, contribute to thematic issues with life and death. Like Hyperion, The Fall of Hyperion is concerned with both pleasure and pain as integral to life and asserts the predominance of suffering. Also expressed is the relationship between knowledge, suffering, and divine power. Perhaps the strongest theme presented by the poem is the Poet's identity and his responsibility to humankind.
Many commentators have noted that the Hyperion poems illustrate Keats's aesthetic theories. One dominant theme in the poems is Keats's notion of "negative capability," his assertion that the ability to entertain opposing ideas, images, and concepts without "any irritable reaching after fact and reason" is a poetic necessity. This aesthetic quality is believed to be present in those rare individuals who transcend Selfhood, leaving them able to identify with and express the experience rather than with their perception of the experience, and thus able to convey art's truth and beauty.
Critical Reception
The general critical reaction to Keats's Hyperion poems, like the reaction to much of his poetry, has focused on one of two dominant areas. Many critics examine the poems to illuminate Keats's life and aesthetic theories, while others use Keats's work to identify either characteristics of the Romantic period or to suggest possible connections between Romanticism and other influences. Keats's letters remain important to scholarship as articulations of Keats's intentions. In most assessments, Keats's Hyperion poems are considered as valuable for their biographical and cultural revelations as they are significant as art in their own right. The various approaches to the Hyperion poems reinforce that Keats's works are valued by scholars as representations of his developing aesthetic theories and as expressions of Romanticism.
Paul Sheats notes Keats's growth as a poet in the Hyperion's increasingly restrained use of imagery and intensity of sensation. Marlon Ross, in examining Keats's patriarchal discourse, suggests Keats attempted to position himself as a "great poet" through the use of an obtuse language which would distinguish himself from those poets whose work he mimicked.
Those who primarily concentrate on the poems as demonstrations of Keats's aesthetic concerns are especially interested in The Fall of Hyperion. Irene Chayers looks at Keats's focus on the composition of poetry as demonstrated within that work, particularly in the passage which juxtaposes the poet and the dreamer. Responding to the poem in a similar manner. Stuart Sperry views the poem as an allegory for poets and poetry. Other critics discuss Keats's articulations of artistic development as evidenced in the poems. Geoffrey Hartman (see Further Reading), considers both Hyperions as a single work that offers a divine world representing Keats's struggles with artistic identity. Similarly, Christoph Bode characterizes the Hyperion poems as a developing expression of Keats's poetics and of his understanding of his "negative capability."
Both Hyperion and The Fall of Hyperion also have been examined for their embodiment of Romantic ideals, particularly in terms of Keats's influences. Paul Sherwin's examination of Hyperion asserts the poem is a response to Milton's Paradise Lost, evoking the poem yet attempting to subvert its message. Johnathan Bate claims that both Hyperion and The Fall of Hyperion are attempts to create a more progressive poem that minimizes the influence of Paradise Lost on the works. In her analysis of Keats's use of mythology and divine speech, Anya Taylor focuses on reflection of Romantic period traits, as do Warren Ober and W. K. Thomas, whose analysis of Keats's use of Pan as an embodiment of the Romantic Imagination
In addition to the two main schools of critical analysis of Hyperion, commentators have offered a variety of approaches. In her examination of masculinity and homoeroticism in the Hyperion poems, Ellen Brinks posits that a Gothic subtext is present, while Joel Faflak looks at connections between Romanticism and psychoanalysis in Hyperion. Carol Bernstein illustrates connections between Hyperion and modernism and postmodernism. Keats's Hyperion poems, as unfinished fragments, continue to generate scholarly analysis of ideas, development as a poet, and position as a Romantic.
Principal Works
Poems (poetry) 1817
Endymion: A Poetic Romance (poetry) 1818
Lamia, Isabella, The Eve of St. Agnes, and Other Poems (poetry) 1820
Life, Letters, and Literary Remains of John Keats (letters and poetry) 1848
Another Version of Keats's "Hyperion" (poetry) 1856
Letters of John Keats to Fanny Brawne (letters) 1878
Letters of John Keats to His Family and Friends (letters) 1891
The Complete Poetical Works and Letters of John Keats (letters and poetry) 1899
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Bruce E. Miller (essay date 1965)
SOURCE: Miller, Bruce E. "On the Incompleteness of Keats's Hyperion." College Language Association Journal 8, no. 3 (March 1965): 234-39.
[In the following essay, Miller asserts that Keats left Hyperion incomplete because he could not resolve the philosophical dilemma created through his profession that the world will inherently improve over time and his uncertainty regarding universal fate and individual will.]
Scholars have asked why Keats did not finish a poem which begins as prosperously as Hyperion. As for explanations, Thorpe has indicated the possibility that Keats' love affair may have interfered with work on a heroic poem;1...
(The entire section is 2146 words.)
Irene H. Chayers (essay date 1967)
SOURCE: Chayers, Irene H. "Dreamer, Poet, and Poem in The Fall of Hyperion." Philological Quarterly 46, no. 4 (October 1967): 499-515.
[In the following essay, Chayers considers Keats's thematic and stylistic use of the composition of poetry in The Fall of Hyperion. Chayers focuses on the dialogue between the first-person narrator and the priestess Moneta, as well as the passage which reflects on the poet versus dreamer, as a representative example.]
How much toil! How many days! what desperate turmoil! … Ah, what a task!
—"Sleep and Poetry"
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Paul D. Sheats (essay date 1968)
SOURCE: Sheats, Paul D. "Stylistic Discipline in The Fall of Hyperion." Keats-Shelley Journal 17 (1968): 75-88.
[In the following essay, Sheats asserts that the style of The Fall of Hyperion utilizes a restrained use of imagery combined with intensity of sensation, which demonstrates Keats's growth and artistic discipline.]
The summer of 1819 abundantly fulfilled Keats's prediction, in June, that his "discipline was to come, and plenty of it."1 In virtual retirement from the world at Shanklin and Winchester, he apprenticed himself to the new styles and forms of Otho and Lamia in a deliberate attempt to become a "popular...
(The entire section is 6323 words.)
Stuart M. Sperry (essay date 1975)
Sperry, Stuart M. "Tragic Irony in The Fall of Hyperion." In English Romantic Poets: Modern Essays in Criticism, edited by M. H. Abrams, pp. 470-85. London: Oxford University Press, 1975.
[In the following essay, Sperry asserts The Fall of Hyperion is an expression of tragic irony. The critic also considers Adam and his dream as an allegory for poets and poetry.]
As prelude to the dreamer's coming vision, the brief paragraph of eighteen lines with which the induction to The Fall begins clearly establishes Keats's major theme—the dream itself, taken, as from the first he always had, as the fundamental source of poetry:
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Paul Sherwin (essay date 1978)
SOURCE: Sherwin, Paul. "Dying into Life: Keats's Struggle with Milton in Hyperion." PMLA: Publications of the Modern Language Association of America 93, no. 3 (May 1978): 383-95.
[In the following essay, Sherwin considers Keats's poetic reactions to Milton. He concentrates on Hyperion, noting both Milton's influence on its style, formal design, and mythological structure and Keats's attempt to create a poem of progress that subverts Milton's moral view.]
One of the most famous Romantic characterizations of Milton is Wordsworth's in the sonnet "London, 1802":
Thy soul was like a Star, and dwelt apart: Thou hadst a voice whose sound...
(The entire section is 9352 words.)
Anya Taylor (essay date 1979)
SOURCE: Taylor, Anya. "Superhuman Silence: Language in Hyperion." SEL: Studies in English Literature 19, no. 4 (autumn 1979): 673-87.
[In the following essay, Taylor looks at depictions of divine speech in Hyperion. The critic also focuses on the use of silence and figurative language in Keats's reworking of mythology within the Romantic period.]
Ever since Keats set down his Hyperion to take up the burden of his brother's death, readers have joined him in finding the epic too abstract, in finding it a detour in Keats's artistic development, or in finding it too discontinuous in style, with the antique, chiselled frigidity of books one and two...
(The entire section is 6060 words.)
Warren U. Ober and W. K. Thomas (essay date 1980)
SOURCE: Ober, Warren U. and W. K. Thomas. "Keats and the Solitary Pan." Keats-Shelley Journal 29 (1980): 96-119.
[In the following essay, Ober and Thomas examine the implications of Keats's use of Pan in The Fall of Hyperion. They asserting that the character operates figuratively as the Romantic Imagination.]
One of the most fascinating cruxes in Keats's poetry occurs in lines 410-411 of Canto i of The Fall of Hyperion: A Dream, as the utterly defeated Saturn in his dejection sends "Strange musings to the solitary Pan."1 These lines near the close of the first canto appear in a passage in which the narrator, Keats's persona, having...
(The entire section is 9113 words.)
Alan J. Bewell (essay date 1986)
SOURCE: Bewell, Alan J. "The Political Implication of Keats's Classicist Aesthetics." Studies in Romanticism 25, no. 2 (summer 1986): 220-29.
[In the following essay, Bewell suggests that Hyperion reflects Keats's uncertainty of his own political voice, and should instead be read as a poem concerned with the aesthetics of sculptural form.]
"If I weren't a conqueror, I would wish to be a sculptor"
Few would disagree that Keats's Hyperion, with its depiction of the overthrow of Saturn by the Olympian gods, of one form of power and sovereignty being displaced by...
(The entire section is 4225 words.)
Carol L. Bernstein (essay date 1990)
SOURCE: Bernstein, Carol L. "Subjectivity as Critique and the Critique of Subjectivity in Keats's Hyperion." In After the Future: Postmodern Times and Places, edited by Gary Shapiro, pp. 41-52. Albany, N. Y.: State University of New York Press, 1990.
[In the following essay, Bernstein considers the impact of subjectivity in Hyperion, drawing from theoretical debates about modernism and postmodernism.]
One of the problems of postmodernist literary criticism has been that of aligning it with other cultural objects of modernity and of postmodernity itself. Like Twemlow in Dickens's Our Mutual Friend, who faces the bottomless abyss of deciding...
(The entire section is 4717 words.)
Marlon B. Ross (essay date 1990)
SOURCE: Ross, Marlon B. "Beyond the Fragmented Word: Keats at the Limits of Patrilineal Language." In Out of Bounds: Male Writers and Gender(ed) Criticism, edited by Laura Claridge and Elizabeth Langland, pp. 110-31. Amherst, Mass.: University of Massachusetts Press, 1990.
[In the following essay, Ross examines the presence of patriarchal language in Endymion and Hyperion. Ross asserts Keats recognized his continued imitation of patrilineal discourse in Hyperion and, in an attempt to subvert this tendency, shifted to an obtuse private language.]
In her study The Romantic Fragment Poem (1986) Marjorie Levinson asserts the intentionality...
(The entire section is 9643 words.)
Jonathan Bate (essay date 1992)
SOURCE: Bate, Jonathan. "Keats's Two Hyperions and the Problem of Milton." In Romantic Revisions, edited by Robert Brinkley and Keith Hanley, pp. 321-38. Cambridge: Cambridge University Press, 1992.
[In the following essay, Bate discusses the influence of Milton's Paradise Lost on Hyperion and The Fall of Hyperion. Bate focuses on Keats's repeated attempts to compose a more politically progressive, less Miltonic Hyperion.]
One of the most powerful chapters in Walter Jackson Bate's magisterial biography of John Keats is the thirteenth, 'The Burden of the Mystery: The Emergence of a Modern Poet'.1 It is there that we are...
(The entire section is 8428 words.)
Carl Plasa (essay date 1995)
SOURCE: Plasa, Carl. "Revision and Repression in Keats's Hyperion: 'Pure Creations of the Poets Brain.'" Keats-Shelley Journal 44 (1995): 117-46.
[In the following essay, Plasa discusses the relationship between Hyperion, The Fall of Hyperion, and Milton's Paradise Lost. Plasa considers Keats's work as a re-envisioning of poetics that attempts to repress the Miltonic past.]
a poet's stance, his Word, his imaginative identity, his whole being, must be unique to him, and remain unique, or he will perish, as a poet.
Harold Bloom
language, for the...
(The entire section is 10201 words.)
Joel Faflak (essay date 1998)
SOURCE: Faflak, Joel. "Romantic Psychoanalysis: Keats, Identity, and (The Fall of) Hyperion." In Lessons of Romanticism: A Critical Companion, edited by Thomas Pfau and Robert F. Gleckner, pp. 304-27. Durham, N. C.: Duke University Press, 1998.
[In the following essay, Faflak asserts that the Hyperion poems indicate how Romanticism invents, as opposed to prefigures, psychoanalysis. Faflak concentrates on the poems' construction of abject identity through an analysis that develops from Lacanian and Kristevan theoretical positions.]
Whereas in Paradise Lost, God is introduced by Milton to sanction his authority as a writer of epic verse, Book 3...
(The entire section is 10700 words.)
Christoph Bode (essay date 2000)
SOURCE: Bode, Christoph. "Hyperion, The Fall of Hyperion, and Keats's Poetics." Wordsworth Circle, 31, no. 1 (winter 2000): 31-37.
[In the following essay, Bode analyzes Hyperion and The Fall of Hyperion as part of a consistent, rather than a continuous, expression of Keats's poetics. Bode sees the poems as marking the development of Keats's thoughts on "negative capability."]
According to many critics, John Keats gave up Hyperion and later recast it as The Fall of Hyperion, first, because he had experienced some fundamental change in his outlook on life, on the course of human history and the place of suffering in the world;...
(The entire section is 6093 words.)
Ellen Brinks (essay date 2000)
SOURCE: Brinks, Ellen. "The Male Romantic Poet as Gothic Subject: Keats's Hyperion and The Fall of Hyperion: A Dream." Nineteenth-Century Literature 54, no. 4 (March 2000): 427-54.
[In the following essay, Brinks considers the construction of masculinity and homoeroticism as part of a Gothic subtext in Hyperion and The Fall of Hyperion.]
With Hyperion: A Fragment and The Fall of Hyperion: A Dream, John Keats's efforts to write an epic in 1818 and 1819 failed. Yet the irony of this "failure" has not gone unnoticed: not only is it the grounds for the placement of these works at an interpretive center of the Keatsian canon, but poetic...
(The entire section is 10755 words.)
Brian Goldberg (essay date 2000)
SOURCE: Goldberg, Brian. "Black Gates and Fiery Galleries: Eastern Architecture in The Fall of Hyperion." Studies in Romanticism 39, no. 2 (2000): 229-54.
[In the following essay, Goldberg examines Keats's use of Indian imagery in both Endymion and The Fall of Hyperion. Goldberg also looks at the prevalence of Indian exoticism in writings of the Romantic period.]
According to recent discussions, Keats's Hyperion fragments draw on a historiography of style that opens with the ancient sublimities of Egypt and moves on to the lucent beauties of Greece and Rome. This argument is based largely on descriptions of the Titans which allude to...
(The entire section is 11512 words.)
Further Reading
Barfoot, C. C. "'Hyperion to a Satyr': Keats, Carlyle, and 'This Strange Disease of Modern Life.'" In Victorian Keats and Romantic Carlyle: The Fusions and Confusions of Literary Periods, edited by C. C. Barfoot, pp. 7-19. Amsterdam-Atlanta, GA: Rodopi, 1999.
Considers Keats's and Thomas Carlyle's personal lives as evidenced in their poetry, and considers Carlyle's assessment of Keats.
Almedia, Hermione de. "Prophetic Extinction and the Misbegotten Dream in Keats." In The Persistence of Poetry: Bicentennial Essays on Keats, edited by Robert M. Ryan and Ronald A. Sharp, pp....
(The entire section is 661 words.)


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Looks good Norma. Hard to believe it taste like cardboard.
What cheese did you use on this? Looks like you shredded it.
Norma,Do you normally sell reheated slices of your preferment Lehmann pizzas and the regular Lehmann pizzas after two hours and, if so, would you or your taste testers, or even customers, characterize the crust as being cardboard-like?Also, can you list the positives and negatives of the latest crust from your perspective and those of the taste testers? A one-day dough is a challenge, especially compared against what you have been doing for the last couple of years or so, but I'd like to see if there are ways of improving upon your maiden effort with the Occident flour. It might well be that other flours are better or possibly there are other changes that might be made to achieve a better product.Peter
Norma,You might want to increase the amount of oil to 3% and increase the thickness factor to around 0.09, which I believe is a little closer to what you have been using for your preferment Lehmann dough. That might be a compromise value. I also notice that you used Morton's Kosher salt for the last dough. You might want to switch to regular salt since that is what an old NYC pizza maker would have used. It that turns out to be too bland, you can always increase it in a future test dough. You might be able to get a bit more lift and increased oven spring if you increase the hydration, maybe to 64%. But, unless you feel otherwise, I think I would rather reserve that option for a future test if warranted.Peter
Norma,I would stay with 1.85% for the salt.I agree with you on not changing too many variables at one time. I was trying to leapfrog some of the other possible changes in order to minimize the number of experiments you conduct with the dough. I am thinking first about the textural and structural parts of the dough. If we can get those right, then maybe we can work on the flavor aspects. Peter
That looks pretty good Norma. Do you think you will be using the 24hr cold ferment weekly? Do you like the taste? When i have to use a 24hr ferment i think it tastes ok.
I sure dont know, but as far back as I can remember the pie makers have always been able to throw the dough. I know so far I wouldnt have been able to throw the dough I just tried.
What effect is hydration higher then 60%?
Norma,In the old days, NYC pizza makers made dough that was mostly same-day dough. I believe that is largely true to this day. Same-day dough meant that you had to achieve the proper balance between the flour used (mostly all-purpose flour but later followed by bread flour), the hydration value used, and the amounts of yeast (usually fresh) and salt so that the dough balls would be ready to use to make pizzas for the first customers after the doors were opened but would still make it through to dinner and possibly beyond. Of course, that usually meant that the best tasting pizzas were the ones toward the end of the day. No doubt adjustments were also made to yeast quantity and/or water temperature to compensate for normal seasonal variations in temperature.I do not recall offhand whether the old style NY dough balls based on high hydration values (e.g., 65%) were amenable to tossing, especially when you got to large pizza sizes (e.g., 18"). Maybe the early skins could be but I would imagine that tossing the skins made toward the end of the day would have been more problematic. I also recall reading posts by Terry Deane, who made 18" NY style doughs with hydration values of around 65%, even with weaker Canadian flours, and he said that it was hard to toss skins at that hydration value, and he doubted that other pizza operators did that also. He said he relied a lot on gravity. If tossing dough skins is a requirement, that is easily solved. You just use a much lower hydration value. In your case, you will note that I did not suggest changing the yeast quantity (0.55% IDY) or hydration value (63%). As to the yeast quantity, I wanted to see if your refrigerator temperature adjustment would allow you to use 0.55% IDY and 63% hydration without the dough overfermenting after about one day of cold fermentation and making it difficult to work with the dough. I also feel that that combination of yeast quantity and hydration value might lend itself to better oven spring. In your case, if you decide to increase the amount of oil to say, 3%, that amount of oil will also have a "wetting" effect and make your dough seem even more hydrated. If that becomes a problem, but you still like the contributions of the oil to texture, tenderness and flavor, we can always scale back the hydration value. There is almost always a "two steps forward, one step back" aspect to experiments like these. Peter
Jeff,You are correct. Nostalgia is always a powerful force in the way we view things. People also often tend to forget the technological advancements over decades that have resulted in significant advances in so many areas that relate to pizza, especially with new wheat cultivars that make our flours among the best in the world. Yet, on the other hand, from what scott123 and pizzablogger have recently reported, it appears that there has been a serious decline in the quality of NY style pizza sold these days in the metro NYC area. That has led to the phenomenon of $1 pizza slices and threats of going to $0.75. I'd love to see what goes into such pizzas. Peter
Norma,I think you will find a diversity of opinion on whether the old style NY pizzas were better than they are now. But I think that I can make out a case that since a long room temperature fermentation is equivalent to a considerably longer cold fermentation, the finished crusts can have more flavor because of the increased amounts of byproducts of fermentation. Also, when using a bromated flour, the mix/knead times can usually be shortened. This, along with the salt, which is an antioxidant, serves to reduce oxidation of the dough and thus preserves carotenoids and other elements in the flour that contribute to the color, aroma and taste of the finished crust. These aspects were at the heart of the methods Professor Calvel espoused to make bread in his book The Taste of Bread. Another point to keep in mind is that a lot of the early pizza operators did not have the physical space for coolers and other refrigeration equipment when such equipment became commercially feasible. So, everthing they did in terms of selection of ingredients and quantities and production methods was dictated by their circumstances. Everything had to work within a defined period of time measured in hours, not days. On the flip side of the coin, cold fermentation offers conveniences that were not available in the early days, and lends itself better to inventory management and control. But cold fermentation has its own challenges, such as the one you are now confronted with in your effort to make a very good one-day cold fermented dough. I have been trying to cram as many things as I can think of into a one-day cold fermented dough that might help you make a credible and marketable pizza. The use of ADY was one such idea, as small as it is. At some point you might consider using ADY instead of IDY but I would defer that decision until we see if it is something worth trying. The very early pizza operators did not have ADY to try since it didn't exist. It was invented after World War II. IDY came onto the scene in the 1970s. I will do some searching of the forum for the specifics of the doughs that Terry Deane used, however I recall that he tried a lot of things and that he spent a fair amount of time using sourdough starters, and he was also an advocate of using preferments. I also recall that he did not see a lot of advantages of using a prolonged cold fermentation where such starters were available. However, I did find some interesting posts on recreating a NY style pizza starting with the post at Reply 14 at http://www.pizzamaking.com/forum/index.php/topic,7931.msg68168/topicseen.html#msg68168. Actually, in retrospect, that was an interesting thread. Peter
Norma - I tend to think it's the whole absence makes the heart grow fonder thing. As time passes we forget the bad, and exaggerate the good.


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Going to Dragon*Con? Wanna meet up with geeky sci-fi and poly folks? Come on out to the third annual Escape Pod/Poly Weekly Dragon*Con Brunch Extravaganza!
Space is limited, so please RSVP here ASAP!
When: Sunday, September 6th, 11:00 a.m.-1:00 p.m.
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What: pay-your-own-way brunch
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Hope to see you all there! Working on getting a space for a Poly Weekly LIVE! episode as well… will let you know!


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Om nom nom nom nom nom! (Slurp!)
Posted by KillerBunny on Jun 11, 2013
That's the sound I make when I drink this stuff, and I'm not really a tea drinker - but it's pretty good. I make it as directed but I let the bag soak for a little longer since I like it a little bitter, I usually tea-bag it a few times - I like tea-bagging - And it really squeezes every last drop of flavor out. I sweeten it with a bit of honey (or stevia if you're some new age mainstream hipster). In summer, I let it cool off and have it with some ice - It makes great iced tea and is very refreshing, it also mixes good with Maker's 46 and a splash of peach schnapps.
This is not green tea.
Posted by 5560053457667993336 on Jan 14, 2015
I usually drink Tazo green tea but I wanted to try new product at this time. This is not tasty at all and doesn't taste like green tea. What is this tea?! If you expect green tea taste, don't waste your money.
Posted by Didokitty on Aug 17, 2013
Very nice green tea. I usually don´t sweeten it, but my husband sweetens it with a bit of honey.
Posted by 4993442672071195237 on Feb 27, 2015
good product nice tast i recommend it. thanx
excellent green tea
Posted by Reviewer1434258 on Dec 11, 2011
The St. Dalfour is good green tea.
A little too bitter
Posted by Reviewer1076007 on Feb 26, 2012
Nice tea, but a little more bitter tasting than I prefer.
just a regular green tea
Posted by Reviewer2043761 on Sep 04, 2012
just a regular green tea nothing special, once you taste loose tea and green japanese tea , this kind of tea is no longer any special


text: Hey so we decided the middle bits of the records should be hand done in a big workshop to keep with the DIY thing and so everyone gets an individual artwork as part of their record purchase. The first go at this will be today! Thurs 16th, 5pm. Come on down! Bring permanent markers or stuff to create. Nice.


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Revolution Quartet
This event is expired.
Live music by Revolution Quartet and special guests: CHAMBER MUSIC FOR THE PEOPLE
Make art in Wilsey Court while you listen to Classical Revolution, talented classical musicians with a mission.
This evening's performance is the kickoff event for the inaugural Classical Revolution Music Festival, taking place September 2012 in several Bay Area venues, featuring musicians and ensembles representing various genres of music, in collaboration with Classical Revolution musicians.
The festival concerts will be held at large venues such as Yoshi's SF (Sept 9 with the Musical Art Quintet), Freight and Salvage (Sept 11 for Erik Jekabson's String-tet CD release concert), and Great American Music Hall (Sept 27 Classical Revolution Orchestra with guest singers and bands); and smaller, intimate venues like Revolution Cafe (every Monday night) and Red Poppy Art House (Sept 13 with Indian Classical chamber ensemble Karavika).
Further information and to listen, go to www.classicalrevolution.org.


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|The Mountain Meadows
Bibliography and Links
Bagley, Will, Blood of the Prophets: Brigham Young and the Massacre at Mountain Meadows
(Univ. of Oklahoma Press 2002)
This book, by a historian and columnist for the Salt Lake City Tribune, is the best available on the subject of the 1857 massacre. Based on six years
of research, the book draws generally the same conclusions as Juanita Brooks did in her 1950 book on the massacre, but benefits from the many
documents that have become available in the past half century.
Brooks, Juanita, The Mountain Meadows Massacre (Univ. of Oklahoma Press 1950)
Considered the classic book on the massacre, the work is based on Brooks's extensive connections to the Mormon frontier communites.
In a tribute to Brooks, Will Bagley writes that this was a story "she was born to tell."
Lee, John D., Mormonism Unveiled; or The Life and Confessions of John D. Lee (1877)
Lee, John D., Writings of John D. Lee (2nd ed. edited by Samuel Nyal Henrie)(2002)
Denton, Sally, American Massacre: The Tragedy at Mountain Meadows (2003)
Patrick, Brian, Burying the Past: Legacy of the Mountain Meadows Massacre(2004)(documentary)
September Dawn (2006)(a love story set against the Mountain Meadows Massacre starring John Voight as John D. Lee)
Mountain Meadows Massacre (online book by Josiah Gibbs)
To the Remnant: Greater Things The Mountain Meadows Massacre
Court TV Crime Library Site
Wikipedia Site
Mormon (LDS) Site on Massacre
LDS news story on 1999 dedication of MM memorial
Mountain Meadows Homepage (Fancher site)
PBS site on Mountain Meadows
Answers.com site on Massacre
Institute for Religious Research on Blood of the Prophets
Thurston v United States (1914)(Supreme Court rejection of suit by estate of MMM victim to recover property)


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Debates of Nov. 23rd, 2010
House of Commons Hansard #102 of the 40th Parliament, 3rd Session. (The original version is on Parliament's site.) The word of the day was spam.
- Question Period
- Government Response to Petitions
- Committees of the House
- Take Note Debate
- Petitions
- Questions on the Order Paper
- Points of Order
- Fighting Internet and Wireless Spam Act
- Genome Canada
- Human Rights
- Canadian Museums Association
- Litterless Lunch Challenge
- David Lam
- Terry Fox Museum
- National Holodomor Awareness Week
- Laval University's Rouge et Or
- Bloc Québécois
- Religious Freedom
- National Defence
- Finance
- National Defence
- Montreal Alouettes
- Canadian Museums Day
- Taxation
- Pensions
- Public Works and Government Services
- The Environment
- Foreign Affairs
- Public Works and Government Services
- G8 and G20 Summits
- National Defence
- Quebec City Arena
- National Defence
- Pensions
- Small Business
- Foreign Affairs
- Fisheries and Oceans
- Public Works and Government Services
- Infrastructure
- Government Priorities
- Public Safety
- Ferry Services
- Forillon Park
- Mining Industry
- Foreign Affairs
- Ferry Services
- Rights & Democracy
- Presence in Gallery
- Points of Order
- Privilege
- Fighting Internet and Wireless Spam Act
- Protecting Children from Online Sexual Exploitation Act
- Business of Supply
- Retirement Income Bill of Rights
- Pensions
Fighting Internet and Wireless Spam Act
Government Orders
1:50 p.m.
Don Davies Vancouver Kingsway, BC
Mr. Speaker, I want to congratulate the government on bringing this legislation forward, because I think it has done something that is a positive step towards dealing with what is a critical issue.
I think the legislation has a lot of good points to it. We have heard some very astute comments made in this House by people who have read the bill very carefully. We know where improvements can be made.
First of all, we know that the electronic commerce protection act will accomplish little if there is no real commitment to enforcement.
In this act the CRTC has been given a wide range of investigatory powers, including the power to compel ISPs to preserve transmission data. Once it concludes its investigation, it can pursue a settlement or bring a notice of violation. Penalties can run as high as $10 million.
There are smaller roles for the Privacy Commissioner and the Competition Bureau, as well, to facilitate anti-spam law suits.
Again, I think these are positive steps that the government has brought in and that the previous Liberal government did not. I am just wondering if my hon. colleague can comment on what he thinks about the enforcement mechanisms in this bill, particularly addressing two issues. One, should there be a criminal sanction to this bill, which is presently lacking; and two, does he have any suggestions for how we can get at people and organizations located outside Canada that issue spam?
Fighting Internet and Wireless Spam Act
Government Orders
1:50 p.m.
Dan McTeague Pickering—Scarborough East, ON
Mr. Speaker, I tried to address that in some of my comments.
No, I am not one who believes there ought to be criminalization unless there are very egregious examples where someone has done this and done this repeatedly.
It also suggests to me that if the purpose, particularly as it relates to commercial interests, is that someone is trying to make more money, then the best way to hit them is in the pocketbook. If people are doing this to destroy or become involved in the destruction of someone else's property, I can assure the hon. member that there are already provisions in the Criminal Code, as the hon. member knows. That is, of course, a form of vandalism or theft of intellectual property, and that can be dealt with criminally.
From a strict commercial point of view, the sanctions in terms of monetary penalties are the way to go. They have to be serious, particularly when there are egregious examples.
The member has asked a question on international enforcement. I call upon Parliament to begin the process of understanding the various forms of international treaties that exist and to improve on those to ensure that there is no jurisdiction left open for international spammers that affect our businesses.
Fighting Internet and Wireless Spam Act
Government Orders
1:50 p.m.
Anthony Rota Nipissing—Timiskaming, ON
Mr. Speaker, I want to thank the member for Pickering—Scarborough East for all the work he has done over the years, again, going back to 2003, really being on the forefront of this issue.
My question is going to relate a bit to what the previous member asked.
The member for Pickering—Scarborough East talked about unintended consequences on domestic business.
The NDP seems to be leaning toward basically criminalizing individuals, arresting them and charging them with a criminal offence. Someone running a business, especially a small business person who really does not have a lot of resources, could be charged up to $1 million. If the business were incorporated, it could be charged up to $10 million. I say "up to". I would trust the courts would have the judgment to implement the right amount.
One of the areas that I look back on is the number of laws that have come down much too harshly, to the point where it becomes ridiculous and the laws do not get enforced.
Would the member talk to us about reasonable punishment and reasonable punitive action, so that the law could be enforced, so that we would get the results we want and so that people who just send emails are not criminals?
Fighting Internet and Wireless Spam Act
Government Orders
1:55 p.m.
Dan McTeague Pickering—Scarborough East, ON
Mr. Speaker, I mean no disrespect to my colleagues in the NDP who call for criminalization, but it sounds a whole lot as if they have taken the Conservative-Reform agenda, the hang 'em high approach to just about everything.
It is an interesting comparison, but it bears some discussion.
There is a very specific reason why, and the hon. member has alluded to this. There are often small businesses that make mistakes. They may be mistakes that may be repeated. They may be desperate. There are a number of reasons why these things may and can occur. There has to be a modicum of judicial discretion given in those circumstances that does not have a sort of one-size-fits-all approach, to take a howitzer to a very small business.
I can tell the hon. member that I have worked on a number of pieces of legislation where I thought we would use the heavy hand, where we would come at them with everything we had. The reality is that would do nothing to stop the problem, let alone doing undue damage to people who rightfully and unintentionally may have crossed a particular line.
It also speaks to the idea of criminalizing Canadians while, at the same time, allowing international spammers to continue unmolested and beyond the reach of our domestic legislation.
It is for that reason that I think we have to be very careful on how we approach this. I think the sanctions that were envisaged by the industry committee and adopted by all parties including the NDP, on the civil side, did in fact meet the test.
We want to look before we leap. We want to ensure we protect Canadians from Canadian spammers. However, we also have to recognize that some people will make a mistake, and when they do make that mistake, I think it is totally unfair that we should throw the book at them with a criminal sanction. I think we should hit them monetarily because after all that is perhaps the reason that they are in fact engaging in this practice. We should hit them where it hurts, in the pocketbook.
Fighting Internet and Wireless Spam Act
Government Orders
1:55 p.m.
Jim Maloway Elmwood—Transcona, MB
Mr. Speaker, I think we all agree that most of the actions against perpetrators would be dealt with through undertakings and agreements to cease and desist, and we would not even get to the basis of fines.
The fact of the matter is, though, that the roll-out of the bill is something that concerns me, the effects on small business and its customers. There are going to be road bumps that we have to deal with on that issue.
I just want to ask the member whether he thinks the government is prepared for a proper roll-out of this bill so that we do not create confusion in the public over what the provisions are.
Fighting Internet and Wireless Spam Act
Government Orders
1:55 p.m.
Dan McTeague Pickering—Scarborough East, ON
Mr. Speaker, the member for Elmwood—Transcona raises some very important points. I am not convinced that there is a program going forward that would ensure we are able to follow up.
I am also of course reminding the hon. member that I do not believe in the criminal sanction, because I simply believe that it would not have the intended consequence we want.
More important, to prove criminality is a lot harder than going the civil route. Anybody who has practised the law would tell us that if we are trying to arrest the problem, particularly as it relates to a monetary, marketing, economic or financial transaction, it would be far better to go that route, save and except in the most egregious of circumstances. I can say that with this legislation we would have to start looking—
Fighting Internet and Wireless Spam Act
Government Orders
1:55 p.m.
The Deputy Speaker Andrew Scheer
Order, please. I have to stop the hon. member there so we can start statements by members.
Genome Canada
Statements By Members
1:55 p.m.
Mike Lake Edmonton—Mill Woods—Beaumont, AB
Mr. Speaker, this year, one of our country's true success stories celebrates an important milestone.
For 10 years, Genome Canada has invested in large scale projects enabling Canadian scientists to make groundbreaking discoveries.
Yesterday, I had the pleasure of representing the Minister of Industry at "Genomics on the Hill", a one of a kind science fair that gave parliamentarians the opportunity to see first-hand some of the most innovative genomics research projects taking place across this country.
There were 12 research projects highlighted at this event, including the autism genome project, which, of course, is of personal interest to me and my family. World-renowned Canadian researchers, like Dr. Stephen Scherer, are working on decoding the genetic basis of autism and providing critical knowledge, diagnostic tests and eventually treatments assisting tens of thousands of families in Canada and worldwide.
I am proud of Canada's investment of over $915 million in Genome Canada. The return on our investment is not only demonstrable to Canadians, but priceless for countless Canadian families.
Human Rights
Statements By Members
2 p.m.
Joe Volpe Eglinton—Lawrence, ON
Mr. Speaker, some Canadian university campuses have become hotbeds of anti-Israel activity with the resulting intimidation of Jewish students.
Anti-Semitism cannot be tolerated, especially under the cloak of freedom of speech. Yet, last week the York Federation of Students hosted an on-campus event with George Galloway, a recognized promoter of the vilification of Israel and a supporter of a terrorist organization.
One of my constituents, Rabbi Aaron Hoch, protested. York officials responded by sending the rabbi a legal notice to cease and desist or face litigation. What a dreadful way to deal with those who oppose hatred.
Ironically, two weeks ago, the International Ottawa Conference on Combating Anti-Semitism, which I attended, passed the Ottawa protocol. This protocol calls on governments to work with universities to combat anti-Semitism with the same vigour they apply to other forms of hate.
Will the Prime Minister commit today to signing the Ottawa protocol and aid Rabbi Hoch in his fight against hatred on campus?
Canadian Museums Association
Statements By Members
2 p.m.
Roger Pomerleau Drummond, QC
Mr. Speaker, I would like to acknowledge the presence today of representatives of the Canadian Museums Association who are here as part of their second annual day on Parliament Hill.
They are here today to raise awareness among all hon. members of the association's financial needs. The Canadian Museums Association is calling for a program that would have the federal government match private sector donations dollar for dollar.
There are more than 2,500 museums in Canada, including nearly 700 in Quebec. They employ more than 24,000 people for a total payroll of roughly $650 million. Tourist visits to museums contribute an estimated $17 billion to Canada's economy. What museums contribute to our economy is not insignificant. We must help them.
Litterless Lunch Challenge
Statements By Members
2 p.m.
Fin Donnelly New Westminster—Coquitlam, BC
Mr. Speaker, did you know that a school-aged child generates approximately 67 pounds of lunch waste every year? That is almost 20,000 pounds of waste for just one elementary school.
That is why in October, during waste reduction week, I held a "Litterless Lunch Challenge" in my riding of New Westminster—Coquitlam and Port Moody. Over 50 classes in 5 schools participated, including Baker Drive, Parkland, Lord Baden-Powell, Maillard, Ranch Park and Moody Middle.
The winner of the 2010 Litterless Lunch Challenge is Ms. Sherle's grade four class at Parkland Elementary in Coquitlam who achieved a score of 93%. I congratulate Ms. Sherle and her class.
I also thank all the students, teachers and parents for setting an example of environmental stewardship. We can just imagine what a difference it would make if every school in Canada went litter free.
David Lam
Statements By Members
2 p.m.
Alice Wong Richmond, BC
Mr. Speaker, I rise today to honour the memory of the 25th Lieutenant-Governor of British Columbia, the Hon. David Lam, who died Monday at the age of 87.
David Lam was an inspiration for all Canadians. His intelligence, generosity, passion for life and love for his community are a few of his many qualities that will be missed.
David Lam encouraged the integration of immigrant Canadians into Canadian life, myself being one. He was a bridge for many new Canadians and he preached and practised the understanding of Canadian values.
He was a humble person but very strong in his ways. Although his service to the province of British Columbia in the capacity of Lieutenant-Governor granted him the official title of "honourable", it is also a title he rightly deserved for his service to mankind.
I feel privileged to have known him and his late wife, Dorothy. Our country is all the richer for the years that they lived among us and for the many lives they touched.
Terry Fox Museum
Statements By Members
2:05 p.m.
Kirsty Duncan Etobicoke North, ON
Mr. Speaker, 30 years ago, an average young man became a hero when he began the Marathon of Hope, a cross-country run to raise money for cancer research. He hoped to raise one dollar from each Canadian for research.
After 5,300 kilometres, Terry Fox announced that he would postpone the rest of the run, saying, "I'm gonna do my very best. I'll fight. I promise I won't give up".
Since Terry's death, $550 million have been raised and the annual run takes place in countries such as Afghanistan and Saudi Arabia.
There is a new dream, a dream to build a museum in Terry's honour in Vancouver, and the tremendous strides made in cancer research, a place for the world to come to contemplate and to inspire hope.
Will everyone help build the dream?
National Holodomor Awareness Week
Statements By Members
November 23rd, 2010 / 2:05 p.m.
James Bezan Selkirk—Interlake, MB
Mr. Speaker, under the leadership of this Prime Minister, a Conservative private member's bill to redress the internment of Canadian Ukrainians during World War II was put into action, and the Prime Minister championed my bill to recognize the Holodomor, the forced Ukrainian famine of 1932-33, as genocide.
The Prime Minister's official trip to Ukraine last month further demonstrates the close relationship that we enjoy between our two countries.
The Prime Minister paid tribute to the millions of Ukrainians who died during the Holodomor by placing a symbolic jar of grain on behalf of all Canadians at a monument by the National Holodomor Memorial Museum in Kyiv.
He acknowledged the enormity of the event and the millions who perished under Stalin's Soviet regime and demonstrated our hope that such an atrocity never occur again.
I was proud to witness our Prime Minister standing in solidarity with Ukrainians in Lviv and declaring Holodomor an act of genocide.
This week marks National Holodomor Awareness Week. I ask everyone to learn more about Holodomor so that atrocities such as this never occur again. I encourage all members to join in honouring the survivors and remembering the victims of this genocide.
Vichnaya Pam'yat.
Laval University's Rouge et Or
Statements By Members
2:05 p.m.
Christiane Gagnon Québec, QC
Mr. Speaker, on Saturday, the Laval University Rouge et Or captured the Uteck Cup on their home field with a dramatic last-minute 13 to 11 victory over the University of Western Ontario Mustangs.
The game, which was played with the chill of winter in the air, came down to the final play, with the Mustangs' failed attempt at a field goal. I would like to highlight the performance of Christopher Milo, who scored four field goals and added a rouge, notching all of the points for his team and thereby earning the title of game MVP. As a result of this win, the Quebec university football dynasty will make its sixth appearance at the Vanier Cup, which determines the Canadian champion.
The win is even more gratifying for the Rouge et Or since the final match for the prestigious championship trophy will also be played on its home field at Laval University's PEPS Stadium.
The Bloc Québécois wishes the Rouge et Or and coach Glen Constantin the best of luck and a glorious victory on Saturday.


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Funding roads and bridges pays off
To the editor:
As our Minnesota winter turns into spring, we can be sure that construction season is around the corner. With every construction project on our roads and bridges come much needed safety improvements and upgrades, as well as hundreds of solid construction jobs. We all need good roads to allow us the freedom to travel for work and business.
Funding these vital projects – like Highway 14 and 60 here in southern Minnesota – can often get overlooked or passed by when more controversial topics are being discussed in the legislature, but they are too important for us to ignore. Construction projects result in real improvements to our quality of life, good paying jobs for our employees and revenue to our state. In 2011 alone, transportation-related jobs put over $2.8 billion in income in the pockets of working Minnesotans and generated almost $195 million in income tax revenue. These are real benefits to our citizens and our state.
Minnesotans are ready to continue to invest and support improvements on our roads. Be sure to remind your elected officials know that you support infrastructure and that supporting transportation must be a priority this session.
Julie K. Anderson
Sleepy Eye


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This is a page about postal code of Hallstahammar, Hallstahammar, Västmanland, with more professional information like latitude, longitude and online map etc.
This is online map of the address Hallstahammar, Hallstahammar, Västmanland. You may use button to move and zoom in / out. The map information is for reference only.
More information about text formats


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Sorry Norma,I miss read. I did not care for the different taste when thin and I associate that with bland. I don't know if salt would do it for me. I like crisp texture but I also need the crumb to mix with the toppings, it blends all the tastes better for me. Bob
I used the thickness factor of 0.0478318. Since the formula was the same for both thickness factors I just rolled the matzo pizza until I thought it was thin enough. I really dont know that much about cracker crusts and how they should be when made. I made a single dough ball that weighed a little over 460.09 grams because of the extra flour I added. Will have to measure that the next time.I will remember to use the Morton's Kosher salt option in the expanded dough calculating tool, when I try this formula again. Does it matter when making a cracker crust what kind of salt is used?
I have a couple questions.Was it the Bittman formula you used?Were toppings added on after cooking, or prior to?I'd still like to see the Bittman formula cooked with toppings on it in the oven, and the same thing thinned out and layered.Regardless, that one looks good. I'm not a fan of hummus, but the crust looks like an interesting cracker style...I'd eat it!
Norma,Had I known that you were planning to use your food processor to make the dough, I would have mentioned that the combined amount of water and oil, by baker's percent, was close to 71% and, as a result, would not be the easiest dough to make in a food processor. One of the things I learned from all of my Papa John's dough experiments is that it is a good idea for the total amounts of water and oil (by percent) to roughly equate the rated absorption value for the flour used. I subsequently got confirmation of that approach from a post by Tom Lehmann at the PMQ Think Tank. I couldn't find the exact post tonight but I found a similar post by Tom at http://thinktank.pmq.com/viewtopic.php?f=6&t=6110&p=38321&hilit=#p38321.Peter
so was it a nice change from the normal? It looks really good...and different. I may try this and really go all out....full sauce and cheese Might bump up the oven temp a little bit or cook it at a lower stance in the oven since you noticed the bottom was cooking slower than the top (which is odd...I have the opposite problem )Really cool to see this recipe evolve. Thanks for taking the time to do this Norma!
Norma,That's a fine looking pizza. One of the nice things about your pizza is that it doesn't take a lot of work and time to make the dough and to have the pizza on the table in pretty short order. Since you used the stone at the same time as your pan, it occurred to me that it is possible that you could use a combination of a pizza screen and the stone, in much the same manner as you baked your pizza today. The difference is that you wouldn't be able to oil the bottom of the two-layer skin to the degree you can when using the pan. So, you might have less bottom crust browning.Knowing that a 12" pizza is doable, that suggests that one can go higher or lower in size. Maybe at some point someone will go to the 6"-8" size that Mark Bittman used to make his matzos. That size might be a single or double layered pizza, using either of the two thickness factors. Peter
Another thing I dont know if I did right or not, was I first rolled the one dough ball, brushed on melted butter. docked, then rolled the second docked and then pressed lightly with my fingers. Since I never made two dough together, I dont know if I should have tried to roll them together before placing in the pan.


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As if Morocco and the Fes Festival of World Sacred Music weren't enchanting enough. A guest contribution with video by Hussein Rashid on the magical intimacy of Sufi Nights.
The 13th-century Muslim mystic and poet Rumi has long shaped Muslims around the world and has now become popular in the West. Rumi created a new language of love within the Islamic mystical tradition of Sufism. We hear his poetry as we delve into his world and listen for its echoes in our own.
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is professor of Persian & Comparative Literature at Washington University in St. Louis, and the author of several books, including Reading Mystical Lyric: The Case of Jalal aI-Din Rumi.
Pertinent Posts
SoundSeen (our multimedia stories)
View the Liän Ensemble with Fatemeh Keshavarz put the poetry of Rumi to music in this January 27, 2007 performance at a Stanford University event celebrating Rumi's 800th birthday.
Selected Poems
To some, Rumi's poetry is best heard aloud; to others, Rumi's words should be experienced in silent reading. Here, we present the text of seven poems and readings of those poems in Persian and in English, with male and female voices.
First Person
We asked for your stories about Rumi and the appeal of his poetry. Read fellow listeners' memories. We'd like to hear yours as well.
Selected Audio
Includes: "Sufism and the Whirling Dervishes", "Pregnant with God", and "The Eccentricity of Shams".
Kindred Episodes
About the Image
A young man from Islamabad, Pakistan expresses himself through photography and the poetry of Rumi.
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Share a Reflection
Rumi speaks to me in words that I have never heard before, but of places that I know well. I am profoundly grateful for his depth of clarity, as well as his Islamic faith. While this faith provides the stage for his penetrating perspectives, it does not overshadow the true object of his adoration.
As a life-long member of the LDS religion, I find solace in Rumi's ability to walk a well traveled road, not as follower, but as an original participant in the journey. It is this intimate association with the sacred path that makes him a trustworthy guide, any of his perceived deviations from the narrow way not easily written-off as sacrilege. Each footstep Rumi takes, on or off the main route, is a call for one to wonder about where his position lies in relation to the divine.
Though I often feel fettered by the cumbersome aspects of my faith, I fail to recognize that the fetters are my own. Rumi illustrates that a profound fluency in one's language of spiritual heritage is not a burden, but a gift. Once one's spiritual journey leaps from the the minaret into the transcendent, one may chart their course by previously unseen stars.
In this way Rumi enters and leaves the strait way with grace and creativity, causing one to wonder about the geometry that undergirds his movements.
Rumi knew God.
When I read his works, I know God too.
Rumi knew what it means to be fully human.
When I read his works, I am fully human too.
When I am bathing in Rumi's words,
I am the birds, the sky, the trees;
I am everything.
Rumi understood that each of us is a house for God to live,
that the reality of love is the comfort, knowing, and peace
of home
"where we know what everyone really intends,
where we can walk around without clothes on."
I had no idea who Rumi was until today. One word inspiring. This doesn't even begin to describe how his words have affected me. When he speaks about human desire and how that desire drives us. How he can connect love with God and its not wrong.Being pregnant with God and comparing ourselves to breastfeeding mothers; just to be full of Jesus. These metaphores are so accurate, so clear, so warm. His words give me hope, they put me at ease. The hope is that words can convey this huge thoughts that we struggle to comprehend and then to write. Content to know my spiritual trek will not cease. It provides the drive I've been searching for to climb to the next level. This day I have found peace and meaning if only for a moment. I want to learn so much more about him.
I teach creative writing to men at The Suffolk County House of Correction in Boston. Last week, a student read a poem that deplored men's treatment of women. This sparked a discussion of highly disparate views on how women should be treated by men. The student who read the poem was Muslim, and another student also, Muslim, insisted that women should be subjugated to men and "walk behind them". Another student insisted that women were the root of evil based on the story of Adam and Eve; while yet another student, the only white man in the group of one Latino and five African-Americans, pointed out that the two men who felt women were not equals, were only advocating what their ancestors had suffered as slaves. The discussion was cordial and restrained throughout, and I will say that I, as a woman and their instructor have never been treated by any of these men with anything less than respect and gratitude. I remained objective, as should an instructor and facilitator, and kept the focus of the discussion on the student's poem. I also guided the class to determine what might be at the heart of suppression and prejudice, like fear. I have, however, continued to think about this discussion. I was impressed by the comportment of my students showed, and told them so, but I was admittedly alarmed by some of their views. My role, however, is not to impose my views upon them and preach. Today, listening to the show, Rumi's words, and the subsequent discussion, gave me something to bring to my students that can help them examine and broaden their spirituality and their perception of women, themselves, and life. "The Value of Perplexity", the idea of "collecting that scatteredness", his themes of "separation and longing" the idea that "to speak the same language is to share the same blood" And the idea that there is no "original sin, only forgetting". Many of my students see the world solely in terms of good and bad. Rumi's work - work, I am presently only peripherally familiar with -- directly addresses much of what my incarcerated students struggle with and write about in their own poetry and prose. His work will provide me a way to help them understand their own prejudices, and behavior, and feelings that come, I believe, from lives filled with violence and unmet material and spiritual need, lives lacking, to a great degree, in love and nurturing. His work will, I believe, inspire their own. Writing, and all artistic, creative expression is a way to find the love that exists within us undiminished, and give it to the world, despite what we've done to this world and what it has done to us. If my students discover that love, feel it only for a moment, they are better for it.
I would not describe myself as a "cryer". In fact, I'm a rather pragmatic philosopher and a self-proclaimed secularist. I first encountered Rumi at a yoga class my girlfriend strong-armed me into checking out. The class was a combination of challenging physical poses, breathing meditations and at it's weekly close, we would all lie on the floor in what is called aptly, the "dead body pose". Our instructor would run us through a series of deep breathing exercises, then read to us from Rumi. The first time I experienced this reading, I cried. From that day forward, I have kept a collection of Rumi's poems on my alter and after morning meditation, I open the book at random and read, trusting that Rumi's mystic wisdom will find me and provide prose that something within me will recognize. Frequently, I am moved to tears by what I have discovered. I find Rumi's poetry to reduce me to what I really am and to create an expansion in me, as well...this paradox is powerful medicine and inspires a moment of true humility in me that is much more difficult to identify with in my day-to-day ego-centric comings and goings.
Rumi is every bit as much a part of my daily spiritual practice as the practice itself. Thank you for doing some a beautiful piece on such a gift of a man!
Re On Being: The Ecstatic Poetry of Rumi What is arrayed here: a RAY ed. About Light itself in all its aspects. What is whirled, as in Sufi Masters, as in Rumi, is world itself, whirled, and these are whirrling words. To quote what was so beautifully said, by Fatemeh Keshavarz: the whirling brings it into your everyday life.. Everything in the universe is whirling with the force of love. We need to join the dance!" I say, whirled without end. And I say there is something so beyond beautiful about the poetry, the soul of Rumi, that transcends and transports us, directly, to the Divine in us all, and in all. Awe. Just say, AWE! The metaphoric connect between whirling and centering, as discussed by Keshavarz in her interview transcends the dance, and is the dance. The potter at the potter's wheel, is turning, turning, and as the vessel shapes, it is called an act of centering, truly a spiritual act, for the potter. I could also say, that the w ord pottery itself is so redolent of our word, poetry. The poetry of life is the love. It's how we live it. Rumi saw this deeply, and in few words, he expressed a multitude. It is a condensation of essence, so beautiful we do cry, as what tears at us, tears of sorrow, are also tears of joy. There is this profound amalgam in all of our lives, and we do perceive this everywhere, and on a soul level, very difficult to describe, paradoxically in words. But he does it. He does it. As does is also for young deer. So dear is this, it transcends us, and brings us to become, souls on fire! The song of the reed is the encapsulation of our lives, of our longing for merger, and of journey to and from the Divine, in our very lives and through the years these threads of story do connect to this story. The music. I am also deeply aware of Moses and how he was drawn from a basket of reeds, among reeds, and that story of Exodus and Arrival, but yes, we never fully arrive, and he did not, in h is life. It is so deeply a metaphoric journey for us all, with layers and layers of mirrors, the echoic connects, constantly with the ONE. With the very essence of LOVE itself. The deep fragrance and unfolding of the rose. The dawn, a rose, this morning, and with it I embraced the light, I stretched, and my arms reached beyond the stars and into a universe of myself, within, and, without. This story is about love.
When I was in college many years ago, the Minnesota poet Robert Bly had come in to make a reading of his Kabir Book of Rumi/Sufi translations; staying after class in the college library for a book signing.
I will never forget how Mr. Bly would look each student in the eye personally before proclaiming in writing above his signature a quote from his transations as-noted in the book. Each brief line was different for each student, yet perfect in placement...
The quote that I received was so fitting that I hired a commercial artist to create a graphic representation; which I then brought to my tattoo artist at the time, and had inked into my inner right forearm.
That quote still fits me all these years later; and the show on Rumi brought back memories that lead me to thought and feeling... So I thank you!
Rumi is my blood brother. I am a white bread American, Caucasian, family of Irish/German/English background. Really happy, really immersed (in everyday reality) expressions of experience did not come tripping out often on the lips of my family/teachers/friends. I was raised in the upper middle class of an mid-Atlantic East Coast metropolis, in the 50s and 60s. What college you went to, your religion or lack of, the part of town you were from...each was significant. How attractive you looked; how cool you acted. Rumi don't care. Rumi slices it wide open, like a halved and quartered watermelon in August, cooled in the spring, sweet, cold on a hot day, luscious, innocent, red, black, green. Rumi brings ecstasy to my address, on my doormat, rings the bell, leaves it to me. From hundreds of years ago, from thousands upon thousands of miles away, a world away from Maryland, USA, he brings ecstasy in being alive, places it in my hands, disappears; the wealth is enormous, what he gives, what you create for yourself at his word.
I am a Zen/Sufi in religion
I am a Zen/Sufi in religion and a poet and a big fan of Rumi's; I especially enjoyed the "I am fire" line you read. One point: you brought up no politics?- which made me wonder- how would Rumi deal with an oppressive regime? Certainly Sufis have been bombed in Pakistan- and your own country appears to b run by fundamentalist idiots who would be torturing Rumi? No? And you don't mention that?
I am a Zen and a Sufi in my religious sensibilities- BUT I also identify with the revolutionary Christ. I find Speaking of Faith to be sorely lacking in the prophetic tradition- in other words -it always seems to be, "Don't rock the boat". Rumi would not approve.
I have read philosophy and studied maditation for many years. I have enjoyed some degree of success in meditation as far as I know that to be. When I started reading Rumi he transformed my way of looking. His words have made it easier and faster for me to enter a state which I love but am unable to discribe. I am hoping I'm on the edge of enlightenment, but can't maintain that status long enough to use the state in my daily activity. Having said that, Rumi says, "those who know don't speak, and those who speak don't know." I do know the state and the transition or shift are near impossible to explain. It's said no one can tell you how to meditate but they try to point the way or the direction. What they are doing is trying to say how they reach this condition. Meditation is a personal thing to me despite all the formal methods. It's only been with Rumi that I have made this shift faster and easier than all of the other methods. I've experimented many ways over thirty years.Rumi's way is not a method, its a state. You are attempting to enter a mind position of no thinking or just being...or what I might call 'isness', or a moving in the "Now." It's easier to do this with certain thoughts that blot your normal cerebral path. In this way you "see" but are not thinking. It's a form of understanding but not trying to figure things our or judge them. You move and see and then feel "all of this was before words." I have found my best meditations occured when I was walking in nature away from man made sights and sounds. Often I would move into a state of consentrated staring which I called a shift in mind. Carlos Castenada four books talk about making a mental shift and I never really knew what he meant until I used Rumi's words while walking. The shift was near instant. One line I've found pleasurable success with is, "When you are with everyone, but not with me, you are with no one, and when you are with no one and you are with me, you are with Everyone." This concept fills me with a sense of joy and all of my "seeing" is with what Ralph Waldo Emerson might call the "inner eye." Emerson is great, but Rumi is pure magic.
Rumi's poetry inspired me to write poetry. I remember exactly where and when that happened. I was listening to Coleman Barks read Who Says Words With My Mouth. I was in my car while driving. I immediately pulled the car over and grabbed a piece of paper and wrote a poem. I have been writing ever since. To me, his poetry inspires the artist in us all.
Rumi paints a beautiful picture of what life can be when it is lived in service of Love, and also showed me that when human love is seen in the context of Divine Love, then there really is no difference.
Rumi also served for me as a gateway to living practices based on the ancient wisdom tradition of Sufism. As Rumi made clear, words are never enough, even his inspired words. If you are inspired by Rumi's words, I recommend that you seek out communities that support you as you travel the Path of Love. For a very readable, experiential introduction, check out Pir Vilayat Inayat Khan's book "Awakening." But ultimately, don't focus on books; seek out other human hearts that do Sufi practices. Here are a few such communities:
- Sufi Order International (sufiorder.org)
- Golden Sufi Center (goldensufi.org)
- Sufi Ruhaniat International (ruhaniat.org)
- The Threshhold Society (sufism.org)
As Rumi said:
Come, come, whoever you are,
This caravan has no despair
Even though you have broken your vows
Perhaps ten thousand times
Wanderer, worshiper, lover of leaving,
Rumi has taught me how to listen. I don't remember my first exposure to his writing. I do remember a time when I was living in Oklahoma and had become overwhelmed with my own high demands for perfection. Going full speed ahead into emotional bankruptcy, never giving myself a break, fearful to the point of paralysis that I would fail in my new career teaching, my work as a writer, and in my contributions to the Benedictine community where I lived. One morning, my dear friend handed me a small sheet of stationery with pastel flowered border. She had written out Rumi's "Today, like every other day, we wake up empty and frightened. Don't open the door to the study and begin reading. Take down a musical instrument. Let the beauty we love be what we do...who we are. There are hundreds of ways to kneel and kiss the ground." She signed it with Rumi's name as well as her own since she had added "who we are." Maya Angelou says that "love liberates." Rumi gently brings us back to our true selves. Rumi's power is in his deep connective love for human beings in their struggle to be and do what is their passionate calling. I have that little note still (after moving three times since being given this gift ten or twelve years ago) taped above my desk in my home study.
On my walk today I listened to the podcast about Rumi, the Iranian Suni poet who writes of love, relationship, the world and God. Many times during my walk I was moved – sometimes to laughter, sometimes an "ah ha", sometimes near tears and with sadness. I found his poetry and his story to be so moving, and wondered how someone who was that gifted and who gave so to much to others, lived. What sense of self does one have, being so filled and present to God? Is it having God as self – to be united and so combined that one doesn't know anything else except self as God and God as self? Listening, I felt deep emotion, moved to tears. The emotion welled up inside me. As I listened to the podcast, Krista Tippett, the scholar she was interviewing and to the poetry of Rumi, I found myself thinking about how I long to write, and wondered if there might be a poet inside of me? I wondered how I could begin to write, and if others would ever want to read what I wrote. And then I felt inspired. The idea came to write a Lenten Reflection Journal. Having just begun the season of Lent (I am Episcopalian), I longed for a practice that would bring me closer to God. Clearly, I felt the call to sit down and document my experiences over Lent – just one girl's Lenten journey. It wouldn't be liturgical or the type of writing that just led one to scripture or classically formulated prayers as I often find in the Episcopal church. My writing would incorporate all different aspects of spirituality offered through many traditions, from many thought leaders and the impact and impressions they made upon me. And so I have begun. As I continued to walk and listen, I had the moment (THE moment) when I realized that my spirituality scares me to death. I am so afraid of being as spiritual as I know myself to truly be. Does that make sense? What I mean is that when I experience other traditions, and listen to or read of others' spiritual journeys; I find alignment, and understanding, and I am intrigued. I say, "Yes, that speaks to me." "Yes, I would like to feel that free." – And sometimes, I say, "No, I disagree". And at once it is invigorating and frightening. That is what happened when I listened to the story of Rumi, and the Whirling Dirvishes – the Suni dancers who whirl around in circles, singing, or chanting, to be closer to God. Intentional dancing in a circle that allows one to be centered while still moving. This is the challenge I face in my everyday life. Moving in many directions at once, fast and furious, I often lose sense of my center. I lose my grounding. It is the why of what I am and do, and when the distractions in my life are such that I cannot find my center, I am lost. As I listened to the discussion, I imagined myself dancing freely in a circle – head focused up to the heavens, with my heart and eyes upon God and without a care in the world, except showing the joy for living the life God has given me. It made me smile. I'm sure in my walking (with my headset on) that I began to move a little to the left and right, kind of a walking dance. Of course, I never cut loose and went in circles lest I be seen by someone on the street and be committed! – Seriously though, I asked myself, what would it take for me to let go and be free enough to dance passionately with focus upon God? How trapped in my body and life am I, that I cannot do this? I love the beauty and symbolism in the Dirvish dance. Recalling that one hand is pointed up toward the heavens, and the other down, symbolizing a joining of heaven and earth – and of being at the center of it, I am moved. Rumi often speaks of a wholeness of being – of being one with spirit, and yet apart from spirit. Love is his mantra – and although it sounded like his poems were written to a "lover" – the understanding is that this is our entry point into the poem, and once in, we can find our way to a love that surpasses all understanding – the love of God. Who is, by the way, the ultimate lover.
Dear Laurel, i read your
Dear Laurel, i read your message about Jalaludin Mohammad Balkhi Rumi, i just want to say that this Guy is Not Iranian, He was in born on 1207 in "Balkh " which is in In my homeland Afghanistan as you Know in past 40 years war in my country we lost each and everything even our neighbors wants to stool our History, iam really Captive of Balkhi`s Poems, and he is the one who has Explained the sense of each and everyone, what ever you have in your Heart and don`t have words to say, you can find it in Rumi`s poems.
Rumi took me to the World beneath the flesh. His every word sends fireworks off in my soul. I understand his depth like an inkling I had never yet put words to. He knows Love of the Flesh is Divine, and celebrates this human existence as much as existence beyond flesh.
After reading Rumi for a couple of years, I encountered Divine Love through a human being. It was a brief encounter filled with intensity and truth, then separation. In that moment of vulnerable heartbreak I snapped into deeper understanding of what Rumi was saying all his life. What happened to him when he met Shams.
Words cascaded into me in a flurry of clarity. I wrote:
In our oneness
I cannot exclude You
in anything I do.
He is like Rummi's word
in the books
Where he talks about Sun.
If you stimulate me constantly,
for the rest of my Life,
on my spiritual journey.
You will be always with me.
Now I want to taste every flavour, every richness
In life
I know
none of it
is mine to hold.
Only mine to behold.
And in that knowledge,
I am safe.
So, Fear...
my dear.
Is my friend.
My greatest friend
me the doorway
to Love.
I felt a oneness with Rumi, and a connection to the place from which words flowed into him. I understood the surrendering necessary to experience this generosity.
When I cannot open myself to Rumi, I know I am not open to myself.
First ever Rumi was like being silent and still and letting it all bleed into the universe, Rumi is a mover of mountains like no other I have known. I am happy when Rumi speaks. I dance within for I know his song
Since introduced to Rumi over a year ago, I find that he gives flight to my spirit that stirs and almost bursts within me of the love I have for God, nature and mankind. He gives voice to my heart- a heart that has been waiting to love another so richly, passionately and purely. And, I take comfort in knowing that this love can only but grow. When I read Rumi's poems, I feel as though God has remembered me, that He has given me a special gift to love and appreciate Him and the nature that He has created with such glory. I respond with gratitude to Rumi's writings, for I feel as though I am not alone in my surging love for creation that often brings me to tears of joy.
Thank you featuring Rumi on your show. It has made me appreciate him even more.
Greetings, thank you for this talk. I was part of an Americanized Sufi group for many years, trained as a "whirling dervish"- but till I embraced Islam in 1999 I was not able to appreciate Rumi's message in the way I do now.
I was relieved to hear Krista speak about the importance of being grounded in a tradition-that "making something universal does not always apply.
Rumi said:
"I am the slave of the Koran
While I still have life.
I am on the path of Muhammad,
The Chosen One.
If anyone interprets my words
In any other way,
I deplore that person,
And I deplore his words.
The most"beautfiul whirling" I experienced was on hajj, the pilgrimage to Mecca, with Muslims going round and round, never stopping 7 days a week, 24 hours a day, every month, every year for centuries.
I wonder what Rumi would have to say to the current rulers of Iran.
In terms of exuberance for life, love,and art, Rumi is closer to modern Israelis that I have known.
I first encountered Rumi's poetry when I became part of a Courage to Teach group (based on the work of Quaker educator and author Parker Palmer) at the Fetzer Institute in Kalamazoo, Michigan. I was entranced by so many different poems that we used over the course of that group, but most of all by this one, as translated by Coleman Barks:
Today, like every other day, we wake up empty
and frightened. Don't open the door to the study
and begin reading. Take down a musical instrument.
Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground.
As someone who has experienced depression periodically throughout my life, and who often turned to reading as a "safe" option for dealing with many uncomfortable experiences, this wisdom has made a transformative difference to me. When I do wake up empty and frightened, I now turn to drumming or rattling. I move, I sing. I was recently able to move to a lake, and I go outside and hear the geese or watch the swans.
Since encountering Rumi, I have felt a strong pull toward visiting where he lived and die. I had a dream that a group I was part of and was planning a trip to India would also go to Konya, Turkey and visit Rumi's tomb. I ended up being in charge of planning that part of the trip - a stop in Turkey - in 2011. In late February, with our Sufi guides, we turned down the street that ended at Mevlana's tomb. I began to cry. I felt that I was finally experiencing a connection to someone that I had not even known I was longing for. As we slowly moved through the building with other pilgrims, I was overwhelmed with tears. My grief, my longing - was exactly as Rumi so often describes. Now that I was experiencing union with Mevlana, I was able to realize how I had missed this connection before that day. We were also able to speak with a Sufi master who lives adjacent to Rumi's tomb, the master of one of the people who helped us plan our stay in Konya. His joy and centeredness and the bliss he radiated, especially in his relationship with his daughter, was our joy as well as we interacted with him. We saw a sema (whirling dervish ceremony) in Istanbul that was marvelous. The devotion of the semazen was so poignant.
There is an experience in connecting with Rumi. The joy, the longing, the dancing, the tears, the aliveness that I have experienced has brought a richness and connection in my life and a depth of spiritual experience that little else has. I can't really explain why a middle-aged Caucasian woman from the Midwest who is a teacher educator and therapist developed a relationship with a 13th century Sufi mystic. But I am grateful, and joyful. I also express my gratitude to Coleman Barks, and the wonderful video of Bill Moyers' interview with him in the Language of Love series, for opening Rumi's words to me and many others who might not have known them otherwise.
Very different than usual discussions on Rumi which focuses on American Poets who write Rumi translations without knowing Persian (using other translations).
on a different note:
Rumi's poetry is used for lyrics in Afghan Music for long time. Here's a song by Afghan Popular singer singing "Listen to Reed".
Context. It was nice to hear more about Rumi's life and his influence within and across cultures over the centuries. I just recently discovered his work, and have greatly savored a single poem a day this year, using Coleman Bark's A Year with Rumi. He has been a good traveling companion during a period of transition in which I have found people who speak my language few and far between. How amazing it is to me that the language of the soul again and again crosses the barriers thrown up by time, culture, religion, and gender. Rumi is a perfect example of this. Finding him was a great gift. Much needed. Much appreciated.
Rumi took me to the World beneath the flesh. His every word sends fireworks off in my soul. I understand his depth like an inkling I had never yet put words to. He knows Love of the Flesh is Divine, and celebrates this human existence as much as existence beyond flesh.
After reading Rumi for a couple of years, I encountered Divine Love through a human being. It was a brief encounter filled with intensity and truth, then separation. In that moment of vulnerable heartbreak I snapped into deeper understanding of what Rumi was saying all his life. What happened to him when he met Shams.
Words cascaded into me in a flurry of clarity. I wrote:
In our oneness
I cannot exclude You
in anything I do.
He is like Rummi's word
in the books
Where he talks about Sun.
If you stimulate me constantly,
for the rest of my Life,
on my spiritual journey.
You will be always with me.
Now I want to taste every flavour, every richness
In life
I know
none of it
is mine to hold.
Only mine to behold.
And in that knowledge,
I am safe.
So, Fear...
my dear.
Is my friend.
My greatest friend
me the doorway
to Love.
I felt a oneness with Rumi, and a connection to the place from which words flowed into him. I understood the surrendering necessary to experience this generosity.
When I cannot open myself to Rumi, I know I am not open to myself.
First ever Rumi was like being silent and still and letting it all bleed into the universe, Rumi is a mover of mountains like no other I have known. I am happy when Rumi speaks. I dance within for I know his song
My heart resounds to every
My heart resounds to every word of Rumi..he reaches the depths of Sufism...and diving in with him to the realities of the truth of unconditional love..brings such bliss everytime...
My dream is to visit his Tomb in Konya on his death anniversary which falls on my Birth date and be in the spiritual journey to the deep learning's of his poetry ..unraveling the mystical divinity that lies within each core of his writing and its essence ...
I feel blessed to be able to know about him and enjoy his writing in this life..~
I'd like to share one of
I'd like to share one of Molavi's Ghazal here, however my English knowledge is limited and sorry if translation isn't good enough!
I also leave the Farsi version here, for those who can do a better translation or interpretation!
I had no idea, this deal* make me this kind of insane.
Make my heart full of fire and bring tears in my eyes...
I had no idea, a flood will suddenly flow on me...
And take me like a ship into bloody Gholzom**
And hit that ship with its wave to break it down to pieces....
Each piece fall down from various turnings ...
A whale****** also shows up and drink all that sea water ...
Such a endless sea become dry like Hamoon***
This Hamoon take over that whale as well...
And drag it to the deep in hands of a tantrum like Gharoon****
Upon all these conversions arrivals, neither remains Hamoon nor the sea....
How do I know what happened next ! since HOW is drawn into UN-HOW***** !
There are many "What Do I know"s ....And I don't know!
And I am all quiet now once I entered that rapture********
*I think refers to life (the literal meanings of the word are: Transaction, Bargain, Deal, Trade)!
**A old harbour in Egypt (Red Sea)
*** two meanings here, 1) A flat desert 2)A lake in south of Iran (Sistaan)
**** I believe this refers to cousin of Moses who had beautiful face and excessive ambitions and greed and Jealousy
***** Ambiguous way of using "Wihtout-How" = which I believe it refers to "No reason at all"
****** Symbol of mystery in spirtual journey
******** This is how I translate that, literal words here are : I got silence after I had opium from the sea....however the interpretation is not easy...my opinion is what you see above where rapture can be a conditions that usually a Sufi will disconnect from his body and this world and connects to the origin!
Again, please don't blame me for the translation if it didn't make sense, my intention was to share this piece of truths with you.
چه دانستم که این سودا مرا زین سان کند مجنون
دلم را دوزخی سازد دو چشمم را کند جیحون
چه دانستم که سیلابی مرا ناگاه برباید
چو کشتی ام دراندازد میان قلزم پرخون
زند موجی بر آن کشتی که تخته تخته بشکافد
که هر تخته فروریزد ز گردشهای گوناگون
نهنگی هم برآرد سر خورد آن آب دریا را
چنان دریای بیپایان شود بیآب چون هامون
شکافد نیز آن هامون نهنگ بحرفرسا را
کشد در قعر ناگاهان به دست قهر چون قارون
چو این تبدیلها آمد نه هامون ماند و نه دریا
چه دانم من دگر چون شد که چون غرق است در بیچون
چه دانمهای بسیار است لیکن من نمیدانم
که خوردم از دهان بندی در آن دریا کفی افیون


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Email: email@example.com
Norbrook® Kenya Ltd
Old Limuru Road, Karuri, P.O. Box 1287-00606, Sarit Centre, Nairobi
Tel: 00 254 20 201 94 57/58 Fax: 00 254 20 2019456
Email: email@example.com
Norbrook® Inc. USA
9733 Loiret Boulevard, Lenexa, Kansas 66219, USA
Tel: 001 913 599 5777 Fax: 001 913 599 5766
Email: firstname.lastname@example.com
About Us
Norbrook® is a leading global provider of veterinary pharmaceuticals supplying products to 120 countries across the world. Its head office is based in Newry, Northern Ireland and it has manufacturing facilities on five sites globally.
The Company has a unique position in the pharmaceutical market in that it is one of the only British owned manufacturing company with its subsidiaries around the world reporting to the UK Board of Management.
Norbrook Product Compendium
2015/2016 Product Compendium
Veterinary Excellence Tool
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Calcitrace D3 Bolus
Administration video