Trash metalin ustasi ve efsanesi, Grammy Odullu Amerikali Megadeth, 7.studyo albumu Cryptic Writings’i 17 Haziran 1997’de Capitol Records etiketiyle piyasaya surdu.
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Trash metalin ustasi ve efsanesi, Grammy Odullu Amerikali Megadeth, 7.studyo albumu Cryptic Writings’i 17 Haziran 1997’de Capitol Records etiketiyle piyasaya surdu.
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Bryan Adams, Japonya, Tokyo Nippon Budokan Hall'de kaydettigi canli albumu Live at the Budokan’i 17 Haziran 2003’de Interscope Records etiketiyle piyasaya surdu.
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Ingiliz heavy metal grubu Judas Priest, 16.studyo albumu Nostradamus’i 17 Haziran 2008’de Epic Records etiketiyle piyasaya surdu.
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"Butun hayatin boyunca deger verdigin insanlar, senin en zayif, en yardima ihtiyacin oldugu an karsina katil olarak cikiverirler. / They come as your friends, the people who've cared for you all of your life. And they always seem to come at a time that you're at your weakest and most in need of their help."
https://youtu.be/dBW5AesgXC8?t=1
SIKI Dostlar (Goodfellas 1990) Yonetmen: Martin Scorsese
"Bugunlerde her zamankinden daha fazla birbirimizle konusmaya, birbirimizi dinlemeye ve dunyayi nasil gordugumuzu anlamaya ihtiyacimiz var, ve sinema bunlari gerceklestirmek icin en iyi ortayol. / Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this."
https://youtu.be/737-t1uarP8?t=1
Taksi Soforu (Taxi Driver, 1976) Yonetmen: Martin Scorsese
"You Talkin' to Me?"
Italyan mimar ve heykeltiras Bartolomeo Ammannati’nin dogum yildonumu (18 Haziran 1511)
Fontana del Nettuno, Firenze (Fountain of Neptune, 1560-1565, Florence)
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Italyan cellist vebesteci Antonio Maria Bononcini’nin dogum yildonumu (18 Haziran 1677)
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Rus yazar Ivan Aleksandrovic Goncarov’un dogum yildonumu (18 Haziran 1812)
“Kis, yanina yaklasilmaz, soguk bir guzel kadin gibi huyunu hic degistirmeden sicaklarin gelecegi belli gunlere kadar uzar; ne umulmadik gunesli havalarla insanlari sasirtir, ne de gorulmemis soguklarla bellerini buker.”
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“Winter, like a cold, unapproachable beauty, retains her character until the lawful season of thaw has arrived. Never does she mock one with unexpected softenings of the air; never does she triple-harness the earth with unheard-of degrees of frost.”
“Mesela deniz. Tanri eksik etmesin ama bizden uzak olsun daha iyi. Insana huxun vermekten baska seye yaramaz. Baktikca aglayacaginiz gelir. Bu ucsuz bucaksiz su kitlesi onunde ruh ezilip buzulur. Hic degismeden, alabildigine uzayip giden bu guzel manzarada yorulan goz, dinlenecek bir yer bulamaz.”
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“The sea, for example? Never mind about that! It brings man only sorrow; looking at it makes him feel like crying. The heart is flummoxed in the face of the boundless shroud of waters, and there is nothing upon which to rest one’s gaze, tormented as it is by the vast scene’s monotony.”
Ingiliz yazar Samuel Butler’in olum yildonumu (18 Haziran 1902)
“Hic kimse bir cocugun bildigini soyledigi seyleri bildigini ya da bilebilecegini dusunmez; ama dunya tavizlerle dolu ve dogruca yorumlanabilecek bir dogrulama yoktur. Insan dili dusuncenin oldukca bariz bir aracidir; dusunce ise kesin olarak cevrilemez. Bir dilden digerine anlamli bir dereceye kadar kisitlamayacak ya da genisletmeyecek bir ceviri olmayacagina gore, bir yerlerde dusunceyi sarsmadan ve sertlesmeden cevirilebilecek dil yoktur.”
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“No one, he answered, expected that the boy either would or could know all that he said he knew; but the world was full of compromises; and there was hardly any affirmation which would bear being interpreted literally. Human language was too gross a vehicle of thought— thought being incapable of absolute translation. He added, that as there can be no translation from one language into another which shall not scant the meaning somewhat, or enlarge upon it, so there is no language which can render thought without a jarring and a harshness somewhere.”
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“Dostluk para gibidir, elde edilmesi kolay korunmasi zordur.”
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“Insan, yiyecegi vakte kadar aviyla dostane iliskiler surdurebilen tek hayvandir.”
Fransiz roman yazari ve sair Raymond Radiguet'nin dogum yildonumu (18 Haziran 1903)
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"Olumu sukunet icinde dusunmek ancak tek basimiza dusunuyorsak mumkundur. Olum iki kisilik oldugunda, inancsizlar icin bile olum olmaktan cikar. Aci verici olan hayati degil, ona anlam kazandiran seyi terk etmektir. Ask hayatimiz oldugunda, birlikte yasamak ya da birlikte olmek arasinda nasil bir fark olabilir?"
“Insanin en yalan soyleyemeyecegi anlar, aslinda tam olarak en cok yalan soyledigi ve ozellikle de kendine yalan soylediđi anlardir. Bir kadinin yalan soyleyemeyecegi anda olduguna inanmak, bir cimrinin sozde comertligine inanmak anlamina gelir.” Icimizdeki Seytan
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“The times at which we can't lie are precisely those when we lie the most, especially to ourselves. To believe a woman 'at a time when she can't lie' is like believing in the feigned generosity of a miser.”
“Ilk opucugun tadi beni, hayatta ilk kez tadilan bir meyve gibi hayal kirikligina ugratmisti. En buyuk hazlari yenilikte degil, aliskanlikta yakalariz. Birkac dakika sonra, yalnizca Marthe'in dudaklarina alismamis, artik vazgecemez hale gelmistim. O ise, o sirada beni bundan sonsuza dek mahrum birakmaktan soz ediyordu.”
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“The flavour of that first kiss disappointed me, like fruit you taste for the first time. It's not in new things that we experience the greatest pleasure, but in habit. Within moments, not only had I become accustomed to Marthe's lips, I was unable to live without them. And it was then that she spoke of depriving me of them for ever.”
Tradisyonalizm akiminin kurucusu metafizikci, ressam, sair, yazar ve tasavvuf onderi Isvicreli Frithjof Schuon’un dogum yildonumu (18 Haziran 1907)
“Bu kusursuz yogunlasma ‘gogusun acilip genislemesine (insirah) tekabul eder ve bu nedenle dervislerin dansi bazen Zikr'us-Sadr (gogusten yapilan zikir) olarak adlandirilmistir.Bu dansin ayni cinsel yasam gibi hem hayati, hem varolussal,hem de ayinsel kendine ozgu bir buyusu bulunuyor. Bilkuvve tarzda sembolik olarak Sonluyu Sonsuza ya da’Ben’i ‘Kendi’ye donusturur.”
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“The point, includes in reality and as if by compensation a mystery of dilation, precisely as the Absolute by definition includes Infinitude; perfect concentration coincides with an “expansion of the breast” (inshirāh), whence the name dhikr al-sadr (“invocation by the breast”) that is sometimes given to the dance of the dervishes. This dance pertains, like sexual life, to a magic that is at once vital, existential, and sacramental; it symbolically transfers the finite into the Infinite or the “I” into the Self in a manner that is virtual and yet at the same time effective on its psychological plane.”
Meksikali sair ve gazeteci Efraín Huerta’nin dogum yildonumu (18 Haziran 1914)
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Sana sessizligi ben buldum diyorum yeniden
o usul ikindide, adin yakilinca
komurlesince
buyuk altin alevinde ondokuz yilinin.
Sevgim alacakaranligiýđýn baglarini cozdu
yalniz senin fisiltina vermek icin kendini,
beyaz odun alevinin o cam fisiltina.
Anilarin bir igne batisidir dudaklarima,
hayatinin masallarini kurdum bugun
bir elmanin ince kabugunda.
Bu ara hep tedirginim,
bir pencerenin acilisini
bekliyorum simdi
arkandan gideyim
ya da parcalanayim diye
uzgun kaldirimlarda.
Ama oylesine bir ses gelir ki daglardan
acidir uyumak,
anmak olumdur seni.
Urkerek cekilir sessizlik,
yildizsiz gokyuzunden cekilir,
agizlarimizin acelesinden,
solgun kamelyalardan,
karanfillerden.
Gel, ruzgara anlatalim opulerimizi;
dusun: alacakaranlik bizi anliyor,
sari fisiltisinda gozlerinin
biliyor nasil hoslandigimi,
kollarinin beyaz suyundan.
Acmamis ciceklere soyleyelim sakimizi,
ayi gozetlemeyen cocuklara.
Birbirimize bakmadan soyleyelim.
Yalancidir onlar, su kuslar, sacaklar.
Birbirimizi sevmiyoruz artik,
sevmemistik de.
Tutkuyla geldik, tutkuyla gidiyoruz.
Alacakaranligin sesindeyiz artik,
cilginligin yureginde.
Gel, ruzgara anlatalim opuslerimizi,
Sakimizin aci yuklerine.
Ask ne atestir, ne de mermer.
Ask bana duydugun acimadir senin,
benim sana.
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Te repito que descubrí el silencio
aquella lenta tarde de tu nombre mordido,
carbonizado y vivo
en la gran llama de oro de tus diecinueve ańos.
Mi amor se desligó de las auroras
para entregarse todo a su murmullo,
a tu cristal murmullo de madera blanca incendiada.
Es una herida de alfiler sobre los labios tu recuerdo,
y hoy escribí leyendas de tu vida
sobre la superficie tierna de una manzana.
Y mientras todo eso,
mis impulsos permanecen inquietos,
esperando que se abra una ventana para seguirte
o estrellarse en el cemento doloroso de las banquetas.
Pero de las montańas viene un ruido tan frío
que recordar es muerte y es agonía el sueńo.
Y el silencio se aparta, temeroso
del cielo sin estrellas,
de la prisa de nuestras bocas
y de las camelias y claveles desfallecidos.
Expliquemos al viento nuestros besos.
Piensa que el alba nos entiende:
ella sabe lo bien que saboreamos
el rumor a limones de sus ojos,
el agua blanca de sus brazos.
ˇParece que los dientes rasgan trozos de nieve.
El frío es grande y siempre adolescente.
El frío, el frío: ausencia sin olvido.)
Cantemos a las flores cerradas,
a las mujeres sin senos
y a los nińos que no miran la luna.
Cantemos sin mirarnos.
Mienten aquellos pájaros y esas cornisas.
Nosotros no nos amamos ya.
Realmente nunca nos amamos.
Llegamos con el deseo y seguimos con él.
Estamos en el ruido del alba,
en el umbral de la sabiduría,
en el seno de la locura.
Dos columnas en el atrio
donde mendigan las pasiones.
Perduramos, gozamos simplemente.
Expliquemos al viento nuestros besos
y el amargo sentido de lo que cantamos.
No es el amor de fuego ni de mármol.
El amor es la piedad que nos tenemos.
Rus yazar Maksim Gorki'nin olum yildonumu (18 Haziran 1936)
“Aksam olup da batan gunesin kizil isinlari pencere camlarini tutusturunca, fabrikanin tas karni kusmuk gibi disari atardi oguttugu insanlari, ve yuzleri isten kararmis isciler ac insanlara ozgu parlak dislerini gostererek yeniden sokaklara dolar, ortaliga makine yagi kokulari yayarlardi eksi eksi. Artik sesler canli ve hatta neseli cikardi, cunku forsalik o gun icin son bulmustu, evde aksam yemegi yiyip dinleneceklerdi. Fabrika bir gun daha yutmuţtu. Makineler, insan kaslarindaki butun gucu kendi ihtiyaclari icin emmisti. O gun de gecip gitmisti hic iz birakmadan. Insan bir adim daha atmiasti mezarina dogru. Fakat dinlenmek tatli seydi, dumanli meyhane zevkliydi, ve insan seviniyordu isgununun son bulmasýna.
Bayram gunleri, saat ona dek uyunurdu. Sonra, agirbasli ve evli kimseler en iyi elbiselerini giyip kilisedeki ayine giderler, dinsel görevlere karsi gosterdikleri ilgisizlik yuzunden gencleri kinarlardi. Kilise donusu, yemek yenir ve aksama kadar yatilirdi. Yillar boyunca biriken yorgunluk istah birakmazdi. Yemek yiyebilmek icin, coklari icki icerler, midelerini kavurucu alkolle uyarirlardi.
Aksam olunca, sokaklarda tembel tembel dolasilirdi. Lastik cizmesi olan, kuru havada bile cizmesini giyerdi; semsiyesi olan, hava gunesli bile olsa, semsiyesini alirdi.
Birbirleriyle karsilasinca fabrikadan makinelerden soz ederler, ustabasilara verip veristirirlerdi. Sozler, dusunceler, hep calismayla ilgili konulari kapsardi. Gecip giden gunlerin renksiz tekduzeligi icerisinde tek tuk basit bir fikir kivilcimi parlarsa, o bile coktu. Erkekler eve donunce karilariyla kavga ederler, cogu zaman da sille tokat doverlerdi onlari. Gencler kahvehanede kalirlar, ya da birbirlerinin evinde toplanir, akordeon calar, rezil sarkilar soyler, dans eder, edepsizlikler anlatirlar ve icki icerlerdi. Calismaktan bitkin dusen erkekler kolayca sarhos olurlardi. Icki onlari yok yere sinirlendirir ve bu hastaliga varan sinirlilik, bir yerden patlak vermek isterdi. O zaman, bosalmak icin, yoktan bir bahane icat ederek hayvani bir ofkeyle birbirlerine girerler, kanli dogusler cikardi. Kimileri sakatlanir, arada sirada olenler olurdu.” Ana
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“In the evening, when the sun was setting, and red rays languidly glimmered upon the windows of the houses, the factory ejected its people like burned-out ashes, and again they walked through the streets, with black, smoke-covered faces, radiating the sticky odor of machine oil, and showing the gleam of hungry teeth. But now there was animation in their voices, and even gladness. The servitude of hard toil was over for the day. Supper awaited them at home, and respite. The day was swallowed up by the factory; the machine sucked out of men’s muscles as much vigor as it needed. The day was blotted out from life, not a trace of it left. Man made an other imperceptible step toward his grave; but he saw close before him the delights of rest, the joys of the odorous tavern, and he was satisfied.
On holidays the workers slept until about ten o’clock. Then the staid and married people dressed themselves in their best clothes and, after duly scolding the young folks for their in- difference to church, went to hear mass. When they returned from church, they ate pirogs, the Russian national pastry, and again lay down to sleep until the evening. The accumulated exhaustion of years had robbed them of their appetites, and to be able to eat they drank,long and deep, goading on their feeble stomachs with the biting, burning lash of vodka.”
In the evening they amused themselves idly on the street; and those who had overshoes put them on, even if it was dry, and those who had umbrellas carried them, even if the sun was shining.
Meeting one another they spoke about the factory and the machines, had their fling against their foreman, conversed and thought only of matters closely and manifestly connected with their work. Only rarely, and then but faintly, did solitary sparks of impotent thought glimmer in the wearisome monotony of their talk. Returning home they quarreled with their wives, and often beat them, unsparing of their fists. The young people sat in the taverns, or enjoyed evening parties at one another’s houses, played the accordion, sang vulgar songs devoid of beauty, danced, talked ribaldry, and drank. Exhausted with toil, men drank swiftly, and in every heart there awoke and grew an incom- prehensible, sickly irritation. It demanded an outlet. Clutching tenaciously at every pretext for unloading themselves of this disquieting sensation, they fell on one another for mere trifles, with the spiteful ferocity of beasts, breaking into bloody quarrels which sometimes ended in serious injury and on rare occasions even in murder.”
Ingiliz muzik grubu The Beatles'in kurucu uyelerinden, Ingiliz bas gitarist, soz yazari, besteci, multi-enstrumantalist Paul McCartney'in dogum gunu (18 Haziran 1942)
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Italyan sarkici, dans sanatcisi, televizyon sunucusu ve aktris Raffaella Carrŕ’nin dogum gunu (18 Haziran 1943)
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Italyan oyuncu, yapimci, yazar ve model Isabella Rossellini'nin dogum gunu (18 Haziran 1952)
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Italyan sair Vincenzo Cardarelli'nin olum yildonumu (18 Haziran 1959)
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Bilmiyorum, nerede yuva yaptiklarini,
nerede barisi bulduklarini.
Ben onlar gibiyim
surekli ucmakta havada.
Yasami siyirip geciyorum
onlar gibi suda yiyecek bulmak icin.
Belki onlar gibi ben de barisi seviyorum,
denizdeki o sonsuz olani,
ne ki, benim yazgim yasamak,
firtinada cakip cakip sonen simsekler gibi.
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Uctun, guvercin gibi
Kacip kayboldun, oraya,
doguya dogru.
Seni goren yerler bende kaldi
Ve buluslarimizin saatleri.
Issiz saatler,
bana bir gomut gibi gelen yerler
onlarin nobetcisiyim.
Nature morte calismalari ile unlu Italyan ressam Giorgio Morandi'nin olum yildonumu (18 Haziran 1964)
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William Holden, Ernest Borgnine ve Robert Ryan’in rol aldigi western Vahsi Belde (The Wild Bunch -Il Mucchio Selvaggio) 18 Haziran 1969’da Los Angeles, California’da gosterime girdi.
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Amerikali modernist yazar Djuna Barnes’in dogum yildonumu (18 Haziran 1982)
"Yalnizca imkansiz sonsuza kadar surer. Zamanla ona erisebilirsin. Robin'in aski ve benimki bastan beri imkansizdi ve birbirimizi sevmekle artik sevemez olduk. Hayati bir yemek zili gibi calsan da bir tek saat hic cinlamaz-kopus saati. Herkes sonunda o yuregi agzinda olmak denen zehirden oluyor." Geceyi Anlat Bana
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“Only the impossible lasts forever; with time, it is made accessible. Robin's love and mine was always impossible, and loving each other, we no longer love. Yet we love each other like death. Beat life like a dinner bell, yet there is one hour that won't ring--the hour of disentanglement. Oh well, he sighed, every man dies finally of that poison known as heart-in-the-mouth.”
“Nora herkesin yaninda kendini soyuyor. Kendini ikaz etmeyi beceremedigi icin, donup baktiginda hep azalmis oldugunu goruyordu. Her zaman uygun bir fiyata satilabildigi icin dunyanin her tarafindaki yoldan cikmislar onu cok karli buluyorlardi cunku kendi ihanetinin parasini kendi cebinde tasiyordu.”
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“Nora robbed herself for everyone; incapable of giving herself warning, she was continually turning about to find herself diminished. Wandering people the world over found her profitable in that she could be sold for a price forever, for she carried her betrayal money in her own pocket.”
Pulitzer Odullu Amerikali roman ve kisa oyku yazari John Cheever'in olum yildonumu (18 Haziran 1982)
"Cinsellik, kiskanclik, ozlem ve coskunluktan olusan donanimi ile aski tanimak arkadasligi tanimaktan daha kolaydi, arkadasligin (atletik ekipman disinda) hicbir donanimi yok gibiydi."
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"Love with its paraphernalia of sexuality, jealousy, nostalgia and exaltation was easier to recognize than friendship, which seemed to have (excepting athletic equipment) no paraphernalia at all."
"Insanlar hakkinda hicbir sey bilmemek de korkunc bir karanlik gibidir. Karanliktan korkmam ama insan cehaletinin bazi turleri vardir ki beni korkutur."
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"I don't know where they're going and if you don't know anything about people it's like a terrible kind of darkness. I'm not afraid of the dark but there are some kinds of human ignorance that frighten me."
Ingiliz-Amerikali rock grubu Fleetwood Mac, 13.studyo albumu Mirage’i 18 Haziran 1982’de Warner Bros. etiketiyle piyasaya surdu.
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Bryan Adams, Robin Hood: Prince of Thieves albumunden (Everything I Do) I Do It For You'yu 18 Haziran 1991 tarihinde A&M Records etiketiyle yayinladi.
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Amerikali hard rock grubu Van Halen, 9. studyo albumu For Unlawful Carnal Knowledge’i (F.U.C.K.) 18 Haziran 1991’de Warner Bros. etiketiyle piyasaya surdu.
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Vin Diesel, Paul Walker ve Michelle Rodriguez’in rol aldigi Hizli ve Ofkeli (The Fast and the Furious) 18 Haziran 2001’de Los Angeles, California’da gosterime girdi.
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Turk ressam Nuri Iyem’in olum yildonumu (18 Haziran 2005)
Amanti Ordinari (Ordinary Lovers, 1999)
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Bodrum, 1982
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1998 yilinda Nobel Edebiyat Odulu'nu kazanan, Portekizli yazar José Saramago'nun olum yildonumu (18 Haziran 2010)
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"Geri donmek. Geri donme ifadesinin iade edilmek ile ayni sey olmadigini bilmek icin postaci olmaya gerek yoktur, geri donmenin anlami, eflatun mektubun yalnizca gidecegi adrese varmadigini ifade edebilir, diger bir deyisle yolun belli bir yerinde bir seyler olmus ve mektup gittigi yolu bu kez tersine kat etmistir. Tabii mektuplar yalnizca goturuldukleri yere gidebilirler, bacaklari ya da kanatlari yoktur ve bilindigi kadariyla kendi baslarina karar alamazlar, eger alabilselerdi bircok kez tasimak zorunda kaldiklari kotu haberleri tasimayi istemeyeceklerine de eminiz. Bir anligina olaya karsi tarafin bakis acisindan bakan olum, benim yolladiklarim da bu turden mektuplar iste, dedi, birine belirli bir tarihte olecegini bildirmek haberlerin en kotusu, bu durum, yillarca olumun dehlizlerinde yasamaya ve gunun birinde zindancinin gelip, Iste mektubun, hadi hazirlan, demesine benziyor."ť Olum Bir Varmis Bir Yokmus
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"Came back unopened. You don't need to be a postman to know that coming back is not the same thing as being sent back, that coming back could merely mean that the violet-colored letter failed to reach its destination, that at some point along the way something happened to make it retrace its steps and return whence it had come. Letters can only go where they're taken, they don't have legs or wings, and, as far as we know, they're not endowed with their own initiative, if they were, we're sure that they would refuse to carry the terrible news of which they're so often the bearers. Like this news of mine, thought death impartially, telling someone that they're going to die on a particular date is the worst possible news, it's like spending long years on death row and then having the jailer come up to you and say, Here's the letter, prepare yourself."
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"Yolculuk asla bitmez. Biten yolculardir sadece. Ustelik onlar da hatirda, anilarda, anlatilarda bir sure daha kalirlar. Kumsalda oturan yolcu ‘Gorulecek baska bir sey kalmadÝ’dediginde bilir aslinda bunun boyle olmadigini. Yolculugun sonu bir yenisinin baslangicindan ibarettir. Gorulmeyeni gormek sarttir; gorulmus olani yeniden gormek; yazin goruleni bir de kisin gormek, gece goruleni bir de gunduz gozuyle seyretmek, eskiden yagmurun ýslattigini simdi gunes altinda gormek, olmamis hasadi, curumus meyveyi, yeri degismis kayayi, onceleri orada olmayan golgeyi. Atilan adimlarin ustunden yeniden gecmek gerekir, tekrar etmek ve yanlarina yenilerini eklemek icin. Yolculuga yeniden cikmak gerekir. Her zaman. Yolcu yeniden yollarda."
"Yasam, enstrumanlari akortlu da olsa, akortsuz da olsa devamli calan bir orkestradir. / La vita č un'orchestra che suona sempre, intonata, stonata" José Saramago
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" ‘Sana bakmami istemiyorsan, golgene bakarim’ dedi. ‘Golgeme bakacaksan, dilegim golgem neredeyse orada olmaktir’ diye yanitladi. / ‘Guarderň la tua ombra, se non vuoi che guardi te’ gli disse, e lui rispose "’ essere ovunque sia la mia ombra, se la’ saranno i tuoi occhi.’ " José Saramago
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Foto: Frank Horvat, Warsaw, couple in a cafe, 1963
19 Haziran Dunya Averelik Gunu
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Fransiz matematikci, fizikci ve filozof Blaise Pascal’in dogum yildonumu (19 Haziran 1623)
"Adil olanin pesinden gidilmesi dogrudur, en guclunun pesinden gidilmesi ise kacinilmazdir. Gucu olmayan adalet acizdir; adaleti olmayan guc ise zalim. Gucu olmayan adalete mutlaka karsi cikan olur; cunku kotu insanlar her zaman vardir. Adaleti olmayan guc ise baski altinda kalir. Demek ki adalet ile gucu bir araya getirmek gerek, bunu yapabilmek icin de adil olanin guclu, guclu olanin ise adil olmasi gerekir.
Adalet tartismaya aciktir. Guc ise ilk bakista tartilmaz bicimde anlasilir. Bu nedenle gucu adalete veremedik; cunku guc adalete karsi cikip kendisinin hakli oldugunu soyledi. Hakli olani guclu kilamadigimiz icin de guclu olani hakli kildik."
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"Justice, might." It is right that what is just should be obeyed; it is necessary that what is strongest should be obeyed. Justice without might is helpless; might without justice is tyrannical. Justice without might is gainsaid, because there are always offenders; might without justice is condemned. We must then combine justice and might, and for this end make what is just strong, or what is strong just.
Justice is subject to dispute; might is easily recognised and is not disputed. So we cannot give might to justice, because might has gainsaid justice, and has declared that it is she herself who is just. And thus being unable to make what is just strong, we have made what is strong just."
Fransa Krali X. Charles'in Reims Katedrali'nde yapilacak olan tac giyme torenini kutlamak icin ozel siparisle yapilan, librettosunu Luigi Balocchi’nin yazdigi, Gioacchino Rossini’nin besteledigi 3 perdelik Reims'e Seyehat (Il viaggio a Reims- The Journey to Reims / The Hotel of the Golden Fleur-de-lis) operasi ilk kez 19 Haziran 1825'de Paris, Teatre Itelien'de yapildi.
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Amerikali yazar, yayinci, sanatci ve filozof Elbert Hubbard’in dogum yildonumu (19 Haziran 1856)
“Insanlarin neden zayifliklarini ortmek icin mazeretler uydurarak kendilerini kandirmakla bu kadar cok zaman harcadiklari benim icin hep merak konusu olmustur. Oysa bu kadar zaman zayifligin iyilestirilmesi icin yeterli olur ve mazeret aramaya gerek kalmazdi.”
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“It has always been a mystery to me,why people spend so much time deliberately fooling themselves by creating alibis to cover their weaknesses. If used differently, this same time would be sufficient to cure the weakness, then no alibis would be needed.”
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“Biraz daha israr, biraz daha caba ile umutsuz gorunen basarisizliklar, gorkemli bir basariya donusebilir.”
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“Olmak istediginiz samimi, yetenekli, yararli insani kafanizda canlandirin ve boylece bu dusunceler sizi zamanla o ozel kisiye donustursun. Aslolan dusuncedir. Dogru, mantikli bir tavir takinin; cesur, samimi ve neseli bir tavir. Dogru dusunmek yaratmaktir.”
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“Tanri madalyalariniza, derecelerinize veya diplomalariniza degil, yaralariniza bakacak.”
Filipinli bagimsizlik mucadelesinin lideri, sair ve yazar José Rizal’in dogum yildonumu (19 Haziran 1861)
Elveda, hayran olunasý Ulkem, gunesin oksadigi yurt;
Dogu Denizi'nin incisi, kayip cennetimiz,
Sevincle veriyorum sana hayatimi, uzgun ve ezilmis,
Ve daha taze ve daha aydinlik olsaydi dahi,
Yine onu senin yolunda verirdim, senin refahin ugrunda.
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Adios, Patria adorada, region del sol querida,
Perla del Mar de Oriente, nuestro perdido Eden!
A darte voy alegre la triste mustia vida,
Y fuera más brillante más fresca, más florida,
Tambien por tí la diera, la diera por tu bien.
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Farewell, my adored land, region of the sun caressed,
Pearl of the orient sea, our eden lost,
With gladness i give you my life, sad and repressed;
And were it more brilliant, more fresh and at its best,
I would still give it to you for your welfare at most.
Japon yazar Osamu Dazai’nin dogum yildonumu (19 Haziran 1909)
“Anne,son zamanlarda insanlari hayvanlardan ayiran tek ozelligin ne oldugunu kesfettim. Biliyorum, insan konusuyor, insan akilli, insan dusunuyor, insanin sosyal bir duzeni var; ama butun hayvanlarda bunlardan az cok yok mu? Belki hayvanlarin da inanclari vardir. Insan tum Yaradilisin efendisi olmakla ovunuyor; ama esasta, diger yaratiklardan pek farki olmadigi anlasiliyor. Oysa insanin yine de ayri bir ozelligi var. Belki beni anlamiyorsunuz. Hayvanlarda hic olmayan bir sey, insanin kendisine ait bir sey: O da sir. Ne dersiniz?” Batan Gunes
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“Mother, recently I have discovered the one way in which human beings differ completely from other animals. Man has, I know, language, knowledge, principles, and social order, but don't all the other animals have them too, granted the difference of degree? Perhaps the animals even have religions. Man boasts of being the lord of all creation, but it would seem as if essentially he does not differ in the least from other animals. But, Mother, there was one way I thought of. Perhaps you won't understand. It's a faculty absolutely unique to man - having secrets. Can you see what I mean?"
“Horiki'nin o farkli guzel gulumsemesi karsisinda aglamis, karar vermeyi ve direnc gostermeyi bir yana býrakip arabaya binmis, buraya getirilince de cilgin sinifina konmustum. Su an, buradan cikacak olsam bile, bir ‘cilgin,’ hayir bir cokkun oldugum damgasini yuzumde tasirim herhalde.
Insanligimi yitirdim.
Artýk ben, asla bir insan degilim.” Insanligimi Yitirirken,
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“I had wept at that incredibly beautiful smile Horiki showed me, and forgetting both prudence and resistance, I had got into the car that took me here. And now I had become a madman. Even if released, I would be forever branded on the forehead with the word ‘madman,’ or perhaps, ‘reject.’
Disqualified as a human being.
I had now ceased utterly to be a human being.”
Akademi Onur Odulu, 2 Golden Globe, 3 Emmy Odulu sahibi Amerikali aktris (Virginia Cathryn) Gena Rowlands’in dogum gunu (19 Haziran 1930)
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Iskocyali roman ve tiyatro yazari, unlu Peter Pan'in yazari James Matthew Barrie'nin olum yildonumu (19 Haziran 1937)
"Biri disinda, butun cocuklar buyur ve buyuyeceklerini erken yasta ogrenirler. Wendy de soyle ogrendi: Iki yasindayken, bir gun bahcede oynuyordu. Bir cicek daha koparip, bu cicekle annesine kostu. Sanirim kucuk kiz pek sevimli gorunuyordu ki, Bayan Darling elini gogsune koyup, "Ah, keske hep boyle kalabilsen!" diye haykirdi. Bu konuda aralarinda gecen konusmanin hepsi buydu, ama Wendy bundan boyle buyumek zorunda oldugunu ogrenmisti. Bunu iki yasina girdikten sonra anlarsiniz hep. Iki yas, sonun baslangicidir."
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"All children, except one, grow up. They soon know that they will grow up, and the way Wendy knew was this. One day when she was two years old she was playing in a garden, and she plucked another flower and ran with it to her mother. I suppose she must have looked rather delightful, for Mrs. Darling put her hand to her heart and cried, "Oh, why can't you remain like this for ever!" This was all that passed between them on the subject, but henceforth Wendy knew that she must grow up. You always know after you are two. Two is the beginning of the end."
Amerikali rock grubu Heart’un solisti ve soz yazari Ann (Dustin) Wilson’in dogum gunu (19 Haziran 1950)
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Yunan lirik sair ve oyun yazari Angelos Sikelianos’un olum yildonumu (19 Haziran 1951)
Acik pencereye yaslanmis bakiyorduk.
Her sey uyum icindeydi duygularimizla.
Tarlalarla baglari karartiyordu
kukurt rengi bulutlar
ve gizli bir calkantiyla
agaclarda inlerken ruzgar
gogsu otlari oksayarak
ucup gitti hizli kirlangic.
Sonra birden, buyuk bir gurultuyle
yirtildi gokler ve raksederek
bosandi yagmur.
Tozlar ucustu havada.
Bereketli topragin kokusuyla
titrerken burun deliklerimiz,
dudaklarimizi araladik
icimize islesin diye sular.
Sonra yan yana, yuzlerimiz
sutlegen ve zeytinler gibi
yagmurdan sirilsiklam,
“Nedir bu koku,” diye sorduk,
“bu ogul arýlar gibi havaya yayilan?
Belsem mi, cam mý, kenger mi,
yoksa kekik mi?”
oyle yogundu ki kokular,
soluk aldikca icime doldu hepsi
ve sonsuz bir meltemin oksadigi
bir saz gibi titredim
gozlerim gozlerini bulup
damarlarimdaki kanin
cigligini isitinceye degin.
Asmanin uzerine egilip
urperen yapraklardan bir bir
o tatlari tatmak cicekleri solumak istedim;
oysa aklim uzum salkimlari gibi yogun,
solugum bogurtlenlere takili
tatlarla kokulari tek tek secemedim
ve insan nasil ayni anda tadarsa
kaderin kadehinden aci ile sevinci,
ben de oyle tattim ayni anda hepsini;
ve kolumu beline doladigim anda,
bulbul gibi sakidi, irmaklar gibi akti
damarlarimda kanim.
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We leaned out of the window.
Everything around us
was one with our soul.
Sulphur-pale, the clouds
darkened the fields, the vines;
wind moaned in the trees
with a secret turbulence,
and the quick swallow went
breasting across the grass.
Suddenly the thunder broke,
the wellhead broke,
and dancing came the rain.
Dust leaped into the air.
We, our nostrils quivering,
opened our lips to drink
the earth's heavy smell,
to let it like a spring
water us deep inside
(the rain had already wet
our thirsting faces,
like the olive and the mullen).
And shoulder touching shoulder,
we asked: "What smell is this
that cuts the air like a bee?
From balsam, pine, acanthus,
from osier or thyme?"
So many the scents that, breathing out,
I became a lyre caressed
by the breath's profusion.
Sweetness filled my palate;
and as our eyes met again
all my blood sang out.
I bent down to the vine,
its leaves shaking, to drink
its honey and its flower;
and—my thoughts like heavy grapes,
bramble-thick my breath—
I could not, as I breathed,
choose among the scents,
but culled them all, and drank them
as one drinks joy or sorrow
suddenly sent by fate;
I drank them all,
and when I touched your waist,
my blood became a nightingale,
became like the running waters.