The field sublime torrent

It is vanity to wish for long life and to care little about a well-spent life. It is vanity to be concerned with the present only and not to make provision for things to come. It is vanity to love what passes quickly and not to look ahead where eternal joy abides. Often recall the proverb: "The eye is not satisfied with seeing nor the ear filled with hearing.

For they who follow their own evil passions stain their consciences and lose the grace of God. Luttrell Psaltar, peddler with staff and infernal dog, British Library, London. The remarkable doctoral thesis of Dr.

Eric de Bruyn proves convincingly that the peddler is an allegory of mankind fighting to remain walking on the right road and in the right direction. Once again, these images are not personal outbursts of the exuberant imagination of Bosch, but a common language of that period. An illumination of a fourteenth-century English psalm book, the Luttrell Psalter, features exactly the same allegorical representation Fig. Another key to the metaphors of Bosch is the owl that one sees behind the peddler, who sits on a leafless branch, just as in Fig.

At the time of Bosch, the birdcatchers used screech or barn owls to attract other birds that got stuck in the glue with which they had covered the branches surrounding the bait. Quite different from the classical Greek symbol of wisdom Athena , the image here is on the contrary a metaphor for the way vice attracts man and turns him into a captive. As we have said before, for Bosch, as for Augustine, evil or sin is not reducible to any particular deed or behavior, often a mere consequence of his excessive attachment to the earthly realms, including… those who serve the good!

But if one looks more closely, one notices immediately that there is already something weird going on, since around the source of life, there are several little monsters, half-man, half-reptile; the kind of creatures one finds on the roofs of the French cathedrals or in margins of the illuminated Flemish manuscripts of the early fourteenth century [e.

The quote comes from Mathew 24, For as in the days that were before the flood they were eating and drinking, marrying and giving in marriage, until the day that Noah entered into the ark. And knew not until the flood came, and took them all away; so shall also the coming of the Son of man be. The left panel features Christ confirming a just wedding, between Adam and Eve standing in front of the Creation, including Good and Evil.

Behind them, in the trees, we discover mulberries and other tiny little red fruits Fig. The ephemeral character of the short-lived pleasure obtainable from such fruits makes them an ideal metaphor.

A group of thirty people sits down eating a giant strawberry Fig. A man shows his strawberry to an amused lady Fig. Once gone, the pleasure of fruits and flowers dry out and decompose into dust. Since the Earthly Paradise is the Hell of immediacy, there are no children or elderly. Taken individually, each figure looks hilarious, but it becomes clear through the painting that a world dominated by these creatures is a Hell on Earth. Notice the presence of the same owl we met before, who hides in the Fountain of Life, and that one finds in the form of a dancing sorcerer on the far right of the central panel Fig.

That the painting refers to the Deluge is also suggested by one of the rare preparatory drawings that survives, of the right panel where one sees a bordello vice seated in a giant egg stuck in a dead trunk of a tree floating on water Fig. The subjects of these songs are more or less as follows: A husband betrayed by his wife, or a young woman preserved in vain by her parents, or also a clandestine affair with a lover.

And these actions are reported in such a fashion that they appear to have happened honestly, and one applauds the happy scoundrel. Over a bed of stormy, amorphous rhythms and off-white static, the sampled voice changes shape—from high-pitched to low, staccato to elongated, specific to indefinable—until there's nothing left but a broken helicopter-blade beat and an unadorned vocal sample that vibrates with a menacing inflection.

It's a wellspring of tension on an album that brims with paranoia. The Field's discography is paradoxical. On the one hand, Cupid's Head demonstrates how much Willner's aesthetic has changed over the last six years. That those changes have been incremental, and that there are clear threads going back to his debut, highlight the singularity of what he does. A few artists have taken bits and pieces of his style and applied them in their own way, but no one has been able to sound like Willner, who in turn continues to sound like no one except himself.

Cupid's Head is a dark, exquisitely detailed album that rewards patience and further cements the Field's reputation as one of modern electronic music's most satisfying auteurs.

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How did you buy your ticket? View All Photos Movie Info. When the wealthy widow who owns the plot decides to sell it, she holds an open auction to spite McCabe. A rich American Tom Berenger with visions of a factory on the site outbids him, and McCabe then schemes with his emotionally crippled son, Tadgh Sean Bean , to hold on to the land -- his only consolation in a life of loss, toil and a marriage gone sour.

She has the right to sell it. It's my field. It's my child. I nursed it. I nourished it. I saw to its every want. I dug the rocks out of it with my bare hands and I made a living thing of it! My only want is that green grass, that lovely green grass, and you want to take it away from me, and in the sight of God I can't let you do that!

Father Doran : Can't you find another field? Another field? Jesus, you're as foreign here as any Yank. Are you blind? Those hands, do you see those hands? Those rocks! It was a dead thing! Don't you understand? Father Doran : This is the Widow's field. That's the law. The common law. Father Doran : What's that? When I was a boy, younger than Tadgh there, my brothers and sisters had to leave the land, because it couldn't support them.

We wasn't rich enough to be priests or doctors, so it was the emigrant ship for all of them. I were the eldest, the heir. I were the only one left at home. Neighbours were scarce. So my father and I, we had our breakfast, dinner, and tea, working in that field without a break in our work.

And my mother brought us the meals. One day, one day my father sensed a drop of rain in the air and my mother helped us bring in the hay before it was too late. She was working one corner of the field, and I was working in the other. About the third day, I saw her fall back, keel over so to speak.