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Chineke! Orchestra: Spark Catchers — eclectic and heartfelt

publish 2022-05-02,browse 9
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  Les Brown argued that, Too many of us are not living our dreams because we are living our fears. Above all, we need to solve the most important issue first. Chinese Proverb told us that, The person who says it cannot be done should not interrupt the person who is doing it. Roger Staubach said, There are no traffic jams along the extra mile。
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their usual good spirits and cheerful behaviour had forsaken them entirely; both appeared overwhelmed with apprehension, and trembled at every joint. like all their subjects, in the hurry of fear and the suddenness of the alarm, they had come out of their dwellings half dressed, the head and legs, and the upper part of their persons, being entirely exposed. we soon succeeded in quelling their fears, or at least in diminishing, their apprehension. the king then observed, that neither himself nor the oldest of his subjects recollected seeing but one eclipse of the moon besides the one he was gazing at; that it had occurred exactly when the falátahs began to be formidable in the country, and that it had forewarned them of all the wars, disasters, and calamities, which subsequently took place. we had seated ourselves opposite to the king and queen, and within two or three feet of them, where we could readily observe the moon and the people without inconvenience, and carry on the conversation at the same time. if the royal couple shuddered, with terror on beholding the darkened moon, we were scarcely less affected by the savage gestures of those within a few yards of us and by their repeated cries, so wild, so loud, and so piercing, that an indescribable sensation of horror stole over us, and rendered us almost as nervous as those whom we had come to comfort. the earlier part of the evening had been mild, serene, and remarkably pleasant; the moon had arisen with uncommon lustre, and being at the full, her appearance was extremely delightful. it was the conclusion of the holidays, and many of the people were enjoying the delicious coolness of a serene night, and resting from the laborious exertions of the day; but when the moon became gradually obscured, fear overcame every one. as the eclipse increased, they became more terrified. all ran in great distress to inform their sovereign of the circumstance, for there was not a single cloud to cause so deep a shadow, and they could not comprehend the nature or meaning of an eclipse. the king was as easily frightened as his people, being equally simple and ignorant; he would not therefore suffer them to depart. numbers sometimes beget courage and confidence, he thought; so he commanded them to remain near his person, and to do all in their power to restore the lost glory of the moon. in front of the kings house, and almost close to it, are a few magnificent cotton-trees, round which the soil had been freed from grass, &c., for the celebration of the games. on this spot were the terrified people assembled, with every instrument capable of making a noise which could be procured in the whole town. they had formed themselves into a large treble circle, and continued running round with amazing velocity, crying, shouting, and groaning with all their might. they tossed and flung their heads about, twisted their bodies into all manner of contortions, jumped into the air, stamped with their feet on the ground, and flourished their hands above their heads. no scene in the romance of robinson crusoe was so wild and savage as this; and a large wood fire, with a few men spitted and roasting before it, was alone wanting to render it complete! little boys and girls were outside the ring, running to and fro, clashing empty calabashes against each other, and crying bitterly; groups of men were blowing on trumpets, which produced a harsh and discordant sound; some were employed in beating old drums; others again were blowing on bullocks horns; and in the short intervals between the rapid succession of all these fiend-like noises, was heard one more dismal than the rest, proceeding from an iron tube, accompanied by the clinking of chains. indeed, everything that _could_ increase the uproar was put in requisition on this memorable occasion; nor did it cease till midnight, when the eclipse had passed away. never have we witnessed so extraordinary a scene as this. the diminished light, when the eclipse was complete, was just sufficient to enable us to distinguish the various groups of people, and contributed in no small degree to render the scene still more imposing. if an european, a stranger to africa, were to be placed on a sudden in the midst of the terror-struck people, he would imagine himself to be among a legion of demons, holding a revel over a fallen spirit; so peculiarly unearthly wild, and horrifying was the appearance of the dancing group, and the clamour which they made. it was perhaps fortunate for us that we had an almanac with us, which foretold the eclipse; for although we neglected to inform the king of this circumstance, we were yet enabled to tell him and his people the exact time of its disappearance. this succeeded in some measure in suppressing their fears, for they would believe anything we might tell them; and perhaps, also, it has procured for us a lasting reputation and a name. oh, said the king, there will be sorrow and crying this night from wowow to yàoorie. the people will have no one to comfort or condole with them; they will fancy this eclipse to be the harbinger of something very dreadful; and they will be in distress and trouble till the moon shall have regained her brightness. it was nearly one oclock when we left the king and queen, to return to our hut; everything was then calm and silent, and we lay down to rest in peace. spirit of discovery pottery. appended to the volume of the _transactions of the society of arts_, just published, are selections from a series of illustrations on pottery and porcelain, which were read before the society by their ingenious secretary, mr. arthur aikin. we quote a few. _raphael china._ raffaello himself is said in his youth to have painted, or at least to have given designs for painting, in enamel on glazed earthenware. such works are commonly known by the name of raphael china, two interesting specimens of which, from the collection of r.h. solly, esq., are now before you. from some casual flaws in the back of these plates, it may be seen that the body of them is red earthenware in one, and grayish brown in the other, and of rather a coarse quality. mr. windus also has sent a plate, doubtless of italian manufacture, bearing the date of 1533, thirteen years after the death of raffaello. he has also sent a singular specimen of a somewhat similar ware, but with the figures in high relief, and far inferior to the former as a work of art. mr. brockedon informs me that, in his journey among the alps last year, he saw some beautiful specimens of raphael china, in the possession of the hostess of an inn at the village of rauris, in carinthia. they consisted of three dishes; the subjects painted on them are, pan and apollo, jupiter and semele, and on the largest, apollo surrounded by wreaths of nymphs and satyrs, and on the rim are entwined cupids: this latter dish is about twenty inches in diameter, and bears an inscription, in italian, purporting that it was made at rome, in 1542, in the manufactory of guido di merlingho vassaro, a native of urbino. the date is twenty-two years after the death of raphael; but, as the manufacturer was a fellow-townsman of that celebrated artist, the inscription, taken in connexion with the anecdote of vasari already mentioned, is interesting, as throwing light on the association of the name of raffaello with this species of ware. _delft or dutch._ it is probably from italy that holland received this art. the venetians, the genoese, and the florentines, had very extensive commercial dealings with the merchants of antwerp and of other towns in the low countries; it is therefore extremely likely that the potters of holland, to whom is due the first fabrication of clay tobacco-pipes of excellent quality, derived their knowledge of glazed ware from this source. the town of delft was the centre of these potteries, in which were fabricated the tiles known in england by the name of dutch; and the delft were employed for table services, and for other domestic purposes. considered merely with regard to its material, the dutch potters seem to have improved on their italian original, being probably instigated by a comparison with the blue and white patterns of nankin, which was now largely imported by the dutch from china and japan, and which is a coarse, yellowish, porcelain body, covered by an opaque white glaze

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