"One has no right to love or hate anything if one has not acquired a thorough knowledge of its nature". He also said, "Great love springs from great knowledge of the beloved object"

terrousel

Beyond the puzzling explanation of the Yase-otoko was the realization that in some small but irrefutable way, I recognized myself in it. Ironically, what had drawn me to this 17th century mask of a suffering ghost was my experience with a very twenty-first century phenomenon with an eerily similar moniker; ghosting, the practice of pre-emptively dropping all communication and interaction with a lover or close friend without any prior warning. Over the last few years, I’ve had two close friends, one who I opened my home to and another who opened their home to me during a moment of need, disappear into the virtual and real-life ether. Both of these friendships were now over and yet their hold on me was not. I found myself alternately pondering if and how I might have wronged them and resenting them for ghosting me.

But why should a person obsessed with being treated unfairly suffer such a terrible fate? Perhaps people who remain fixated on their unfair treatment are, in a sense, robbing themselves of their own life. Instead of acknowledging the unfairness and moving on, they become paralyzed, hashing and rehashing it, without hope of resolution. While there is a stark ethical contrast between someone who unleashes their demons on others and someone who is struggling with their own private demons, the Yase-otoko symbolizes the perils of bitterness, regardless of the reasons behind it.

Maya Angelou, one of the writers who I most admire and who faced much adversity on her path to becoming a writer, said, "Bitterness is like a cancer. It eats upon the host." As we move through life it seems inevitable that we’ll be wounded along the journey—whether it’s heartbreak from an unrequited love or the betrayal of a close friend or a devaluing work experience. These wounds are how we know we’ve lived and survived. But bitterness is a sign that life has moved on, while we haven’t. Blinded by the mask of bitterness, we continue to cling with both hands to old grievances. Removing this mask makes us vulnerable while also giving us a chance to extend ourselves towards possible joys that we can now, once again, perceive.

Coming face to face with the Yase-otoko forced me to confront the haunting spirit of bitterness with which these friendships had left me burdened and to decide whether I wanted to remain embroiled, or let go, by removing the mask of bitterness. Letting go would involve accepting not only that the friendships were over, which was difficult, but also accepting the lack of resolution, which was surprisingly even harder for me. Once I let go though, I was able to see with clarity the cherished friends, with whom I celebrate victories and commiserate sorrows, the ones who I’ve been leaning on and who’ve been leaning on me in ways that are often unspoken but never unrecognized. Most importantly, removing the mask of bitterness I was forced to wear because of a few toxic friendships has allowed me to return to focusing on becoming a better person, and consequently a better friend.

ice cold & then luke warm

"Imperfectly perfect" - Modupe Alatise

Saturn had his grip on my throat aiming to throw me in his mouth & swallow me hole.

picture perfect

Because your princesses
captivate eyes
and intoxicate with kisses
from their cherry lips,
I claim from you the sweetness
with which I yearn to live,
so I may never suffer again;
Guayaquil of my tenderness.

And gazing at their green eyes,
where my soul yearns to be,
imprisoned as if by the sea,
or as I sink to my knees,
in nights gleaming
with the light of their black eyes,
my heart will tell you:
Guayaquil of my loves…

forever & a day;

ON 10 NEVER END TRACK # 1 S/o @djrundown on the scratching

plz enjoy free dl all i ask is some easy support in return! <3

ON 10 NEVER END EP

FREE DL

L3AN BACK

Ixion is a 1632 oil painting, signed and dated by Jusepe de Ribera.

What was the punishment of Ixion?

Ixion, a Thessalian king, was punished by being bound to a fiery, ever-spinning wheel for attempting to seduce Hera, the wife of Zeus. This wheel, at first believed to spin through the sky, was later said to be located in Tartarus, a realm of the Greek underworld. 


Audacity and Hubris:
Ixion's attempt to seduce Hera, a god's wife, was seen as an act of extreme arrogance and disrespect towards both the gods and humanity. 

Zeus's Wrath:
Zeus, enraged by Ixion's audacity, ordered Hermes to bind Ixion to the fiery wheel. 

Eternal Suffering:
The fiery wheel, spinning endlessly, became Ixion's eternal punishment in Hades, a reminder of his transgression. 

Variations in Location:
While some accounts place the wheel in the sky, others, more common, state that Ixion's punishment takes place in Tartarus, a realm within the underworld. 

Symbol of Hubris:
Ixion's punishment serves as a cautionary tale, illustrating the consequences of exceeding one's limits and defying the gods.

bound to the ever spinning wheel of Tartarus

"L'Orphelin, souvenir d'Auvergne," or "The Orphan, a Memory of Auvergne," is a painting by August Friedrich Schenck, an 1885 oil on canvas painting located at the Musée d'Orsay in Paris. The painting depicts a solitary lamb huddled beside its dead mother, surrounded by crows in a stark, snowy landscape. It is considered a companion piece to Schenck's "Anguish"


Loss and Grief:
The painting evokes a sense of profound sorrow and loss, particularly the vulnerability of the orphaned lamb in the face of nature's harshness. 

Symbolism:
The crows are often interpreted as harbingers of death or symbols of opportunism, adding to the painting's somber tone. 

Darwinian Influence:
Some scholars suggest that the painting may have been influenced by Charles Darwin's theories of evolution and emotions in animals. 

Societal Commentary:
The painting has also been interpreted as a commentary on societal cruelty and the indifference of the world to suffering. 

Emotional Resonance:
The painting's powerful depiction of loss and vulnerability has resonated with viewers, making it a well-known and appreciated work of art.

murder of crows & the orphan of Auvergne

Oswaldo Guayasamín (Ecuadorian, 1919–1999), El Grito [The Cry], 1983. Oil on three canvases. Fundación Guayasamín, Quito, Ecuador.

O Lord, how long shall I cry for help,
and you will not hear?
Or cry to you “Violence!”
and you will not save?
Why do you make me see iniquity,
and why do you idly look at wrong?
Destruction and violence are before me;
strife and contention arise.
So the law is paralyzed,
and justice never goes forth.
For the wicked surround the righteous;
so justice goes forth perverted.

—Habakkuk 1:2–4

empty cheeks

this song will take you on a journey for sure!
Inspired by Daily commutes on the NYC MTA 
It can feel like your in another world sometimes 
Anyway Enjoy the tune!!

A Subway Odyssey 2021

collaboration I made with Playmakeher from my newest album experience

What we can do( ft PlayMakeHer)

an extension of suciogami unto 6petals;

torment or tease (someone) with the sight or promise of something that is unobtainable.

murder of crows & the orphan of Auvergne

simp&fus

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