How is the Indian naval field for girls


Much appreciation and applause for the poetic journey with the German classics to the classical poets of India. The musical reading of the poet's plants "World Poetry 2014 - Goethe and Schiller visiting India" was a great success.

Positive reactions

Dear Mr. Schauerhammer,
on last Saturday it was a hurry to get away (city bus) that I couldn't tell you how successful your event was again! Due to the musical contribution, it was not so "text-heavy" (in a positive sense!), I especially like the historical embedding that your dear wife presents so confidently.
The amount of work you put in is always admirable. I hope you all could relax and enjoy the Indian food together after the stress.
Toi.Toi, Toi continue to all involved,
U.F.

Dear Mr. Schauerhammer,
I really enjoyed the Indian afternoon :-) and the performances were both poetic and musically wonderful.
I wish you a good week and remain
With best regards
A. E.

These are two letters that arrived a few days after the musical reading "Goethe and Schiller in India". The generous and long-lasting applause at the end of the event already showed that the audience had enjoyed the poetic excursion to India.

from left Gabriele Liebig, Ralf Schauerhammer, Ulla Cicconi, Lutz Schauerhammer, Martha Schauerhammer, Ashok Nair

A stroke of luck
A stroke of luck for everyone was the participation of the sitar artist Ashok Nair, who skilfully and sensitively framed the speech contributions and represented a highlight of the program with his improvisations and skilfully shortened melody developments. Many of the visitors from India praised his musical contributions and expressed their appreciation.

Tagore's poems in the original language
About 35 people gathered in the ballroom of the Wiesbaden Loge Plato. This hall is the ideal room for recitations, because in addition to the quiet, classic interior design, it has excellent acoustics. The recitations of the members of the poetry club were supplemented and enriched by a special language contribution. Dr. Banerjee, an admirer and connoisseur of the works of the Indian poet-philosopher Rabindranath Tagore, presented some poems in Bengali, Tagore's original language, during the reading.

A sociable end and future collaborations
After the event, 14 people accepted the invitation to a nearby Tandur restaurant to end the day with a good Indian meal. In the course of the sociable evening, the little poets received the offer in spring 2015 to present two recitation events for the German-Indian Society in Mainz and for the Institute for Indology at the Gutenberg University in Mainz.

Vita of the contributors Ashok Nair and Dr. Arun Banerjee:

Ashok Nair has been playing Indian classical music on the sitar for 15 years. First at workshops and later through several stays in India, he studied the subtleties of Maihar playing with various teachers, which also includes well-known artists such as Ravi Shankar.
He has been studying at Partha Bose for three years for further studies. In 2010 he started playing the meditative Surbahar (bass sitar). Due to his past as a guitarist in the genres of rock, pop and jazz, he knows how to empathize with musicians from the western world of music. For eight years he has appeared regularly at festivals, his own concerts, readings and Indian festivals. He is the founder of the Indrajala trio. In 2008 he played in the papal orchestra in Pope Benedict's first speech on the Marienfeld in Cologne on World Youth Day. In the same year, at the invitation of Cardinal Lehmann, he presented two compositions with the orchestra under the direction of Thomas Gabriel in the diocese of Mainz.

Dr. Arun Banerjee

At the moment, Dr. Banerjee lecturer at the Institute for Indology at Gutenberg University Mainz.

Arun Banerjee was born in India and emigrated to the United States in 1972. Arun received his bachelor's degree from Calcutta University, two Ph.D.s (Mechanical Engineering from Indian Institute of Technology and Engineering Mechanics from University of Florida)

Dr. Banerjee developed DYNACON, Lockheed-Martin's multi-flexible-body dynamics and control simulation tool. He developed algorithms for geometric stiffness effects in elastodynamics, Order-N dynamics, command shaping for vibration suppression, and tracking control of flexible robots.
He has published 36 journal papers, presented papers at two international congresses in theoretical and applied mechanics, and delivered a Survey Lecture on efficient formulations in multi-flexible-body dynamics at the European Space Agency.
1990 he was awarded AIAA Engineer of the Year Award in Astronautics, for his expertise on efficient Order-N flexible-body dynamics, was associate editor for the Journal of Guidance, Control, and Dynamics and is associate fellow of AIAA (American Institute of Aeronautics & Astronautics).
In 2010 Dr. Banerjee joined Motion Genesis as a Senior Consultant to bring flexible body dynamics and controls to symbolic manipulation. He specializes in modeling, dynamics, and control of flexible systems (tethers, beams, parachutes, satellites, solar panels, rockets, robots, etc.)





WORLD POESY 2014

Poetic journey to the poets
India framed with Indian music

The poster shows a section of the Ajanta cave painting. The monastery in Ajanta was built between the 1st century BC. And the 7th century AD. During this long time, monks and artisans created the unparalleled works of art together. They are among the most important frescoes in South Asia and are a UNESCO World Heritage Site.


Saturday, November 15, 2014 at 5:00 p.m.
Great Hall of the Plato Lodge
Friedrichstrasse 35
65185 Wiesbaden

Indian poems by Kalidasa, Bhartrihari, Amaru, Tiruvalluvar and Rabindranath Tagore; German poems by Goethe, Schiller, Heine, Rückert; plus sensitive sounds by the sitar artist Ashok Nair.

Of course, the program can neither deal comprehensively with Indian poetry, including the underlying philosophical ideas, nor with German transmissions. Our excursion into Indian poetry only opens a small window. But this look gives us an idea of ​​how far the field of preserved treasures extends that is still to be discovered. In awe, amazed and driven by curiosity, we approach one of the oldest cultures of mankind. She invites us to decipher her riddles from a history that is more than 10,000 years old.

Indian poetry is as diverse and colorful as the country itself. It looks back on several millennia of history and can only be recognized by the German listener in snapshots.

At the time of the Gupta dynasty, in the 4th - 6th centuries AD, poetry flourished again in an important literary form. In this classical period this poetry was brought to bloom by "Kalidasa". He is probably one of the greatest poets in India and he is also called "the Indian Shakespeare".

Kalidasa
Greetings to the dawn

See this day!
Because it is life, yes, life itself.
All truth lies in its short course
all essence of your being:
The bliss to grow
The joy of acting
The splendor of beauty.
Because yesterday is just a dream
and tomorrow is just a picture of the imagination.
But today, properly lived, transforms everyone
Yesterday in a blissful dream and each
Tomorrow in a picture of hope.
So see this day exactly!
This is the greeting of the dawn.

In Europe, however, Kalidasa was best known for his play "Shakuntala". The British Indologist William Jones had brought it back from his travels in India and translated it into English in 1789. Georg Forster translated it into German for the first time as early as 1791. When Johann Wolfgang Goethe dealt with the subject, he was so enthusiastic that he also dedicated a distich to the piece.

Johann Wolfgang Goethe

Do you want the blossoms of the early year, the fruits of the later year,
Do you want something that excites and enchants, do you want something that satisfies and nourishes,
Do you want to understand heaven and earth with one name,
I call you, Shakuntala, and that's all that's been said.

There is a lively exchange of ideas between Goethe and Schiller about the newly discovered Indian cultural asset. Schiller and Goethe had other transmissions besides Kalidasa's works. For example, the Indian singspiel "Gita Govinda" by the poet Jayadeva, who lived in the 12th century. This work, too, had been translated into English by William Jones and then into German by Friedrich Mayer - even with a personal dedication to the privy councilor Goethe.

Even Schiller feared that the Romantics would associate the Indian works of art. Which ultimately happened and since then has led not a few to escape from reality into a misunderstood nirvana.

Schiller to Goethe - Jena, September 7, 1797
... Schlegel also sent another romance in which Arion's story with the dolphin is dealt with. The idea would be quite good, but the execution seems cold, dry and without interest to me. He also wanted to work on the Shakuntala as a ballad, a strange undertaking for him, from which his good angel wanted to save him. ...

Schiller to Goethe - Weimar, February 20, 1802.
“The Gita Govinda recently led me back to Shakuntala, yes, I also read it with the idea of ​​whether it could be used for the theater; but it seems that the theater is directly opposed to it, that it is, as it were, the only one of all 32 winds with which this ship, with us, cannot sail. This probably lies in its chief quality, which is tenderness, and at the same time in a lack of movement, because the poet has liked to spin out the sensations with a certain comfortable comfort, because even the climate invites calm.

Alexander von Humboldt also took part in this dialogue.
He says in 'Kosmos':

“Delicacy of feeling and richness of creative imagination show Kalidasa his high position among the poets of all nations. The delightful drama 'Vikrama and Urvasi', where the king wanders around in the thicket of the woods, testifies to the charm of his portrayals of nature. "

It is known that Goethe was deeply impressed by the wonderful fables and fairy tales, the religious mythologies of India. It is true that India was never the land of longing for Goethe as it was for his younger contemporaries; however, he was captivated by the sensuality and devotion of the Indian female characters.
However, Goethe expressly distances himself from the Indian world of gods and aesthetics. The gods with their mixture of human and animal forms, elephant trunks and monkey tails, the many arms and heads, could not have been at ease with the classical poet, who found his ideal of art in Greece - in a two-line he says:

»I would like to live in India myself,
If only there hadn't been any stone cutters. "

Goethe followed the discoveries in the field of Indian literature with interest and translated some of the topics into his own poems. The result is the ballad “The God and the Bajadere”, in which he combines the Indian priestess cult and the fire sacrifice with the Christian motif of Mary Magdalene.

Johann Wolfgang Goethe
The God and the Bajadere
Indian legend

Mahadöh, the lord of the earth,
Come down for the sixth time
That he will become ours
To feel with joy and torment.
He makes himself comfortable to live here,
Can everything happen to itself;
Should he punish or spare,
Does he have to see people as human.
And did he see the city as a wanderer,
Watching the big ones, paying attention to the little ones,
He leaves her in the evening to go on.

When he went out
Where the last houses are
He sees with painted cheeks
A lost beautiful child:
Howdy, virgin! - Thanks to the honor!
Wait, I'll be out soon -
And who are you? - Bajadere,
And this is love's house.
She moves to beat the cymbals to dance;
She knows how to wear herself in circles so lovely
She bends and bends and hands him the bouquet.

Flattering she pulls him to the threshold,
Brisk him into the house.
Beautiful stranger, bright as a lamp
Should be the hut immediately.
Are you tired, I want to refresh you,
Relieve your feet pain.
What you want you should have
Rest, joys or jokes.
It alleviates busily hyped ailments.
The divine smiles: he sees with joy
A human heart through profound perdition.

And he calls for slavery;
She only becomes more and more cheerful
And the girl's early arts
Gradually become nature.
And so stand on the flower
Soon and soon the fruit will come in:
Is obedience in mind,
Love will not be far away
But to examine them sharper and sharper,
The connoisseur of ups and downs chooses
Lust and horror and grim pain.

And he kisses the brightly colored cheeks
And she feels the torment of love
And the girl is trapped
And she cries for the first time;
Sink down at his feet
Not for lust or gain,
Oh! and the articulated limbs
They fail all service.

And so to the camp's more enjoyable celebration
Prepare the dark, cozy veil
The nocturnal hours, the beautiful web.

Late asleep while joking,
Awakens early after a short rest,
Find her in her heart
Dead the beloved guest.
She falls down on him screaming,
But she doesn't wake him up
And you wear the rigid limbs
Soon to the fire pit.
She hears the priests, the songs of the dead,
She speeds and runs and divides the crowd.
Who are you? what urges you to the pit?

She falls down by the stretcher,
Their screams pierce the air:
I want my husband again!
And I'm looking for him in the crypt.
Shall crumble to ashes for me
The splendor of these limbs?
My! it was him, mine in front of all!
Oh just a sweet night!
The priests sing: We carry the old ones,
After a long period of weariness and a late cooling,
We carry the youth before they thought so.

Hear your priests teaching:
This was not your husband.
Do you live as a Bajadere?
And so you have no duty
The shadow only follows the body
In the silent realm of the dead;
Only the wife follows the husband:
That is duty and glory at the same time.
Sounds, drummers, to holy lament!
O take, ye gods! the ornament of days,
O take the young man in flames to you!

So the choir, that without mercy
Increase the need of their hearts;
And with arms outstretched
She jumps into hot death.
But the youth of the gods lifts
Up out of the flame,
And floats in his arms
The beloved with me.
The divinity of repentant sinners rejoices;
Immortals raise lost children
Up to heaven with arms of fire.

Drama, dance and music are inextricably linked in Indian culture. According to Indian belief, dance is older than earth, because God Shiva, the cosmic dancer, was from the beginning - and he stands for the energy that creates, transforms and animates everything. You can see the statue of the dancing Shiva, also called Nataraja, all over India.
The dance is thus a sacred act and always begins with an invocation of Shiva. Therefore, for centuries, these dances were only danced in temples to the delight of the gods.

Friedrich Schiller
The dance

See how the couples move in a floating step in the swing of the waves
Turning, the winged foot barely touches the ground.
Do I see fleeting shadows, freed from the heaviness of the body?
In the moonlight do elves tie the airy ranks there?
How, cradled by the zephyr, the light smoke pours into the air,
How softly the boat rocks on the silver tide,
If the docile foot hops on the beat of the melodic wave,
Whispering strings lift the ethereal body.
Now, as if it wanted to break the chain of the dance with might,
A brave couple swings in the closest ranks there.
The path quickly emerges in front of him, which disappears behind him,
The way opens and closes as if by magic hand.
See! Now it faded from view, in a wild tangle
The delicate structure of this agile world collapses.
No, it floats up there rejoicing, the knot untangles,
The rule is only established with a changed stimulus.
Eternally destroyed, the rotating creation is eternally created,
And a silent law guides the game of metamorphosis.
Say how it happens that the formations fluctuate again restlessly,
And the rest consists in the moving figure?
Everyone a ruler, free, only obey your own heart,
And does the only run find its way in a hurry?
Do you want to know it? It is the deity of the good sound,
That for sociable dance arranges the raging jump,
The one, like the nemesis, on the golden reins of the rhythm
Directs the rushing lust and tames the wild.
And the harmony of space rushes to you in vain,
The stream of this sublime song does not seize you,
Not the inspiring beat that all beings beat for you,
Not the swirling dance that goes through eternal space
Luminous suns swing in boldly winding paths?
That you honor in the game, you flee in action, the measure.

Is not that incredible? Isn't Friedrich Schiller singing about the cosmic dancer Shiva in his philosophical poem?