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Apollo And Marsyas
October 30, 2015 in Art, Opinion | Tags: Apollo, Art, artist, aulos, competition, contest, flayed, god, hubris, lust, lyre, Marsyas, meaning, muses, music, Painting, satyr, sexual, skin, violent
The competition between Marsyas and Apollo on a Roman sarcophagus (290–300) marble
The aulos was a woodwind instrument of classical antiquity. The word is sometimes mis-translated as "double flute" but the instrument was not a flute, instead it had reeds–like an oboe or a clarinet. In classical mythology, the aulos was invented by Athena, the glorious goddess of wisdom and favorite child of Zeus. The first aulos made beautiful music, but it caused the goddess' cheeks to puff out–which was at odds with her dignified self-image and caused the other gods to laugh. In disgust she hurled the instrument down into the mortal world where it was found by the satyr Marsyas who picked it up and began to play melodies never heard before. Marsyas became the first great aulos master. He wandered through forests and fields on his two hooves playing the pipes in celebration of the pastoral and sylvan beauty he observed.
Apollo and Marsyas (John Melhuish Strudwick, 1879, oil on canvas)
One day, Marsyas saw the radiant god Apollo playing his lyre (which, in Greco-Roman society, was the instrument of the aristocracy). Lord Apollo was clad in the costliest raiment and equipped with the finest gold trappings. He was inhumanly beautiful…dangerously beautiful. Marsyas was overwhelmed: he was a crude goat-man, and Apollo was the god of music (and sunshine, and medicine, and prophecy). At this juncture, Marsyas made a fateful choice–he decided to challenge glorious Apollo to a musical contest. The winner would be able to "do whatever he wanted" with the loser. Marsyas, a satyr (synonymous, in the classical world, with lust) thus imagined that he would "win" or "be won" no matter which way the the competition worked out.
Apollo and Marsyas (Pietro Perugino, late 15th century)
Apollo grew oddly enflamed by the challenge and agreed readily–with one stipulation of his own. The muses, the goddesesses of art, would judge the event. Now the muses were daughters of Apollo, both figuratively and literally. To a disinterested observer the arrangement might smack dangerously of favoritism, but Marsyas was blinded by longing and besotted by hist art.
Apollo and Marsyas (Hans Thoma, 1888, oil on canvas)
The two musicians set up beside a river and began to play. Apollo played a complicated piece about laws and lords and kings. It sparkled like sunshine. It grew oppressively magnificent like the great gods of high Olympus. It ended like glittering starlight in the cold heavens. Next Marsyas played and his music was completely different–it spoke to the longing of the weary herdsman coming home at sundown. It was about the mist rising from furrowed farmlands, about fruit trees budding in the orchard, and about the soft places where the meadows run out into the rivers.
Contest of Apollo and Marsyas, 350-320 BC from Mantineia. Part of the Base of a Sculpture,
The muses listened closely to the music and made their choice. "These pieces are played by opposite beings on dissimilar instruments. The works have completely different subjects, but both pieces are perfect. Neither is clearly "better" than the other." Sublime music had won the contest!
The Contest between Apollo and Marsyas (Tintoretto, About 1545
Oil on canvas)
But Apollo was not satisfied. There are two versions of the story: in one he turned his lyre upside down and played it as well as ever (Marsyas, of course, could not do the same with the aulos). In the other version, Apollo played the lyre and sang (also impossible with the aulos). "I have two arts, whereas Marsyas has only one!" he proclaimed. The muses halfheartedly assented: Apollo had officially won the contest.
Apollo flaying Marsyas (Luca Giordano, 17th century, oil on canvas))
This was the moment Marsyas had planned for. He was shaking with excitement as Apollo took hold of his unresisting form and shackled him to a tree. Then Apollo picked up a skinning knife and started flaying the saty's skin off. Marsyas screamed and bleated in horror and pain, but Apollo kept cutting and peeling until he had removed the satyr's entire hide. Then the lord of music sat and watched while Marsyas bled to death, before hanging up the horrible dripping pelt in the tree and departing. Vergil avers that the blood of Marsyas stained the river everlastingly red–indeed the waterway was thereafter named the Marsyas.
Apollo and Marsyas (Bartolomeo Manfredi, ca. 1615-1620, oil on canvas)
The artistic thing to do, would be to leave the story as it stands–to let readers mull the troubling tale on their own. However I have been thinking about it a great deal…Every artist thinks about it a great deal. Museums are filled with interpretations of the story by history's greatest painters and sculptors. There was a version of Apollo and Marsyas painted on the ceiling of the Queen of France (in that version, the skinning is done by underlings as Apollo languidly points out how he wants things done). Since I have seen plenty of museum-goers blanch when looking at pictures of Marsyas and hastily turn away, I will provide some ready made meta-interpretations to start the conversation.
Apollo and Marsyas from the ceiling of Anne of Austria's summer apartments (Giovanni Francesco Romanelli, ca. mid 17th century, fresco)
First, this story is a tale of masters and servants. The lyre is the instrument of the rich. It was expensive to own and required tutors to learn. The aulos was the instrument of shepherds, smallfolk, and slaves. The tale of exploitation is a very familiar one throughout all of history. It always goes one way: somebody gets fleeced.
The Flaying of Marsyas (Titian, ca.1570-76, oil on canvas)
Also this is self-evidently a tale of forbidden sexuality. It was immensely popular with Renaissance, Baroque, and Victorian artists from the west because of the opressive mores of society. By presenting this story as a classically varsnished picture, people could represent forbidden ideas about same-gender relationships which society would literally kill them for saying or acting upon. Indeed the story's ghastly climax represents exactly that!
Apollo and Marsyas (Giuseppe Cammarano, 19th century, ink wash)
In a related vein, philosophers and writers interpret the story as "reason chastening lust." The former is more powerful than the latter: ultimately the mind subjugates the passions. Perhaps this is why the picture was above the queen's bed–maybe the king commanded that it be painted there. Yet the reason of Apollo does not strike me as at all reasonable. If this is what rationality accomplishes, then reason is monstrous (and it often seems so in the affairs of men). I wish I could sit with Jeremy Bentham and talk about this. Utility and pragmatism oft seem as ruthless as cruel Apollo.
Apollo and Marsyas (Anselmi, 1540, oil on canvas)
It is also a tale of artists and their audiences (and their art). Marsyas does not clearly lose the contest. His music is as beautiful as that of Apollo–maybe better. However the game was rigged from the start. Art is a mountain with infinite facets but the sun of fashion only shines on a few at a time. The greatest artists are not necessarily appreciated or loved. I can't imagine a single artist who painted this story imagined themselves as Apollo. Unless you have personally rigged the game with money and power, it will not benefit you. You must prepare for operatic destruction at the hands of the world. It is a terrible part of art. The world's inability to discern true worth is one of life's most disappointing aspects.
Marsyas Flayed by the Order of Apollo (Charles André van Loo, 1735, oil on canvas)
Above all, it is a story of gods and mortals. For daring to step on the field with the divine, mortality is punished with the ultimate penalty–mortality. I don't believe in gods or divinity (people who literally believe in such things strike me as dangerous lunatics). Divinity is a myth–but an important one which informs us concerning humankind's ultimate purpose and methods. We have strayed into vasty realms. I'll come back to this theme later but for now let's say that the defeat of Marsyas reveals something. Would you prefer if he just gave up and groveled before Apollo? No, there would be no story, no striving, no art. There is a divine seed within his failure–a spark of the celestial fire which animates (or should animate) our lives.
Marsyas Flayed by the Order of Apollo (Charles André van Loo, ca. 1734-1735, oil on canvas)
Anyway, for putting up with this rather horrible week I have a Halloween treat for you tomorrow. Remember, I am not just a moral and aesthetic philosopher but a troubled toymaker (and a lost artist) as well. Happy Halloween!
As ever, WordPress hates me and crops my images in horrible ways for reasons I can't fathom. You should click on the pictures above and see them properly. It is worth your effort!
What the jazz? You are all sick: artists, gods, goat-men, and bloggers alike.
Look who's talking, "Bog". Try writing your own daily blog and then come crying to me (or post a link, if you already have one). 🙂
"The world's inability to discern true worth is one of life's most disappointing aspects." An insightful lament worthy of James Baldwin.
I guess Apollo was a cold-hearted lyre!
How could anyone describe Apollo's actions as reasonable? He does not even take the skin for some other purpose, but merely hangs it over the horny goat-man's corpse.
To me, since most of us strive for something above us, artist or otherwise, this myth illustrates the dangers of assumption. It is a tale that could be used to teach negotiation tactics in all areas of life.
A draw would suggest that he is not the peerless embodiment of all perfection. If some damn goat-man with a discarded whistle can do as well as the universal embodiment of music, it suggests that the gods are disposable (as indeed they are–I don't see any pantheists around). Apollo's actions are a master gamesman's actions: probably any executive or politician would see them as familiar. Unable to win the game outright and protect his elevated status with fair competition, he protects his hegemony through an even more "clickworthy" act.
Thanks for the interesting moral meditations on this tale and artwork. I came here seeking information on the story behind the image of Marsyas in the Louvre ceiling. I was hoping the knife was there to cut his bonds, but noooo… alas no. I appreciated the reflections on power and music. In a similar vein, I highly recommend the recent movie "Tale of Tales" which includes three adult fairytales depicted in a renaissance-like world; visually stunning, Grimm-like horror and magic, and stories that make you ponder the underside of desire, ambition, beauty, power…
Marc Winger
Certainly food for thought. Daring to interfere with the aristocracy? A note to those who seek the favors of those that don't share one's inclinations? Just the intimation of forbidden lust. A focus for women who's fetish includes gay men? A mixed bag for a wide array of thoughts for people whose media was limited.
Indeed…there are terrible repercussions to messing with the 1% (although these days they prefer to metaphorically fleece people). And yet, if you want to be a successful artist you have to trespass in their world…
Anthony Palmieri
If you want to be a successful artist you are not an artist at all. You are, at best, a purveyor of trinkets that conform to a well established (although arbitrary) set of aesthetic criteria. There ain't no art in it at all.
You might argue that Appolo did Maryas a great service (and paid him a great compliment) in stripping away the skin or skein of the quotidian which covered his essential greatness. (Apollo, being a god, would be furious that a mortal would or could discard or transcend his mortal limitations to produce music that was equal to, or better than, Apollo's own. We know the gods were (are?) a petty, vengeful lot…so this scenario seems quite plausible.
Apollo was simply pointing out to Maryas that he (Maryas) had overstepped himself in contesting with Apollo. (And that's what art is)
Art is a mountain with infinite facets but the light of fashion only shines on one or two at a time…yet Apollo's radiance is still shining on poor Marsyas.
Adiga
You're missing some things here. The Aulos was cursed by Athena to bring great suffering on anyone who plays it. So I guess there was no escaping to Marsyas after all. Secondly, even Nysean nymphs (friends of Marsyas) were the judges here, not just the Muses. Though Apollo's punishment was harsh, the contest was not really rigged lol. In fact, there are variations which tell that Marsyas played the flute out of tune and assigned this punishment himself. Anyway lastly, Apollo regretted his excess punishment and tore the strings of his lyre. He abstained from music for a long time to repent his acts. So it was a tale of hubris indeed, but comparing this to a story of masters-servants (the aulos was as sacred as lyre to Apollo outside Athens) powerful-powerless is gross simplification the tale by leaving out some important facts – which unfortunately most of the people have been doing since years.
Leaving deadly objects around for anyone to find? Brutally murdering underlings but then feeling very mild remorse? If these actions don't strike you as gratuitous abuse of power, you must be a dark countess or a pharmaceutical CEO or something.
At any rate, I looked up the story of Athena's aulos on Wikipedia which says: "The comic playwright Melanippides of Melos (c. 480-430 BC) embellished the story in his comedy Marsyas, claiming that the goddess Athena, who was already said to have invented the aulos, once looked in the mirror while she was playing it and saw how blowing into it puffed up her cheeks and made her look silly, so she threw the aulos away and cursed it so that whoever picked it up would meet an awful death. Marsyas picked up the aulos and was later killed by Apollo for his hubris. The fifth-century BC poet Telestes doubted that virginal Athena could have been motivated by such vanity." So I guess the curse was made up by Melanippides, but other writers (including me) thought it out of character for Athena (who could be astringent but was not known to be utterly capricious). Other accounts allude to Athena crafting the first aulos from two ribs of Medusa, which makes it sound like the sort of item that would be cursed for anyone other than a nigh-omnipotent goddess!
Unless you are a very devout pantheist, these stories are myths: artists and writers tend to take creative liberties with them and embellish them like Melanippides did (which probably causes Apollo to become even more angry). There are some lovely Renaissance paintings of Apollo with a viola and Marsyas with a bagpipe (an instrument which has probably been cursed by many gods…and lots of other individuals too).
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its expected cost and burden; it includes the actual data collection instrument.
DATES: Comments must be submitted on or before January 22, 1999.
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Abstract: The form letter is used in VBA's Fiduciary and Field Examination Program, which is responsible for carrying out a Congressional mandate that VA maintain supervision of the distribution and use of VA benefits paid to a fiduciary on behalf of a beneficiary who is incompetent, a minor, or under legal disability. Title 38, U.S.C., Section 5503(b)(1)(A), requires discontinuance of benefits when an estate reaches a specific limit and other conditions exist. The information collected is used to determine whether an estate exceeds the limit and discontinuance is warranted.
An agency may not conduct or sponsor, and a person is not required to respond to a collection of information unless it displays a currently valid OMB control number. The Federal Register Notice with a 60-day comment period soliciting comments on this collection of information was published on September 14, 1998 at page 49158.
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KORENGAL picks up where the Oscar-nominated RESTREPO left off; the same men, the same valley, the same commanders, but a very different look at the experience of war. KORENGAL explains how war works, what it feels like and what it does to the young men who fight it. As one soldier cheers when he kills an enemy fighter, another wonders if he'll ever be forgiven. As one soldier grieves the loss of his friend in combat, a returned soldier explains why he misses the war, and admits he would go back to the front line in a heartbeat. KORENGAL goes a step further than RESTREPO in painting the full picture of war.


Sonya's Garden Tagaytay is definitely on our list of romantic Bed and Breakfasts… Many thanks go to the creator and owner, Sonya Garcia, for bringing us this slice of paradise. Whether it is your first or forty-first time at the gardens, it never fails to captivate. For those that want beautiful views, the fresh and inviting smell of fragrant flowers, the peace and tranquility of being in nature, and maybe even a touch of romance, then you can't go past Sonya's Secret. But, as more and more people visit and the word spreads, Sonya's Garden Tagaytay won't be a secret much longer.
With all I had heard about Leslie's Restaurant Tagaytay I was left feeling disappointed after our lunch. Read the review, see the pictures and find out why… Tagaytay is a popular holiday town in Manila south. With it's mild climate and majestic views of taal lake and volcano, it is an easy draw card fir sightseers an those wanting a quick getaway from the big city. It is also near the province of Batangas which is known for its bulalo.
One of our favorite go-to places, not to far from Manila is Tagaytay. If you just want to relax or do some exploring, there are plenty of Tourist spots to keep you busy.


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• Offer stress relief and encouragement through on campus and off campus events.
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Radcliffe Meteorology station in front of Radcliffe Observatory
HomeNewsOxford receives award for longest running weather station in the UK
Oxford receives award for longest running weather station in the UK
UniversityResearch
Oxford University's Radcliffe Meteorological Station is the longest running weather station in the UK. On 15 May, the Met Office will present an award to the University 'in recognition of 200 years of continuous climate observations at the Radcliffe Observatory, Oxford'.
The Station, based at Green Templeton College and maintained by the University's School of Geography and the Environment, holds the longest series of temperature and rainfall records for one site in Britain, with daily full records from 1815, and less frequent observations dating as far back as 1767.
Phil Johnson, Regional Network Manager for the Met Office, will present a commemorative shield to Richard Washington, Professor of Climate Science at the University's School of Geography and the Environment. Also at the presentation will be members of the Royal Meteorological Society, who are visiting the Observatory that day as part of the bicentennial celebrations.
Professor Washington said: 'We are delighted that the Met Office should recognise the University's contribution in this way. It provides a moment to pause and remember those with the foresight to embark on extraordinary efforts to record the weather each day so long ago – long before the justification of climate change was to hand. Ours is an old planet yet one with a very young observational record. But without those 200 years of data, nature, and the way we are influencing it, would be so much harder to understand.'
Phil Johnson, Regional Network Manager for the Met Office said: 'Weather observation sites are crucial to the way that we observe and record the climate around the UK. Our climate analyses would not be possible without the long-running, high-quality individual station series such as the Radcliffe Observatory, and we are delighted to present the School of Geography and the Environment at Oxford University with this long service award. These observations are used in a variety of different ways, including supporting automated observations, making historical records and contributing to climate change calculations. We rely on skilled observers at sites such as Oxford to provide us with accurate data.'
The current observers are doctoral students from the School of Geography and the Environment, who visit the station once a day, every day, to read the thermometers, check the rain gauge and estimate cloud cover. They also check the atmospheric pressure on a barometer inside the Observatory, and note the sunshine, wind-speed and visibility from the top of the Department of Engineering Science. Since 1925, eye observations have taken place every morning at 09.00 GMT. UK weather stations report a mixture of snapshot hourly observations of the weather, and daily summaries of the weather known as climate observations. The limited nature and frequency of the observations at the Radcliffe weather station means they have little value for short-range weather forecasting. However, the station provides valuable long-term data for climate research.
Changing weather patterns in Oxford can be tracked by comparing recent data with the long-term averages. The combined winter rainfall total for December 2013-February 2014 was a record-breaker as the wettest ever of any of the three winter months since full records began in 1815. January 2014 was the wettest of all winter months with rainfall of 146.9mm which, although below the national figure, was nearly three times the month's long-term average in Oxford of 52.9mm. Last year was also Oxford's warmest since 1815, part of a very warm trend since 1990, with September 2014 being the second driest on record. The average annual temperature for 2014 was 11.5C, 1.8 degrees higher than the 200-year average of 9.7C, a significant difference in weather terms.
The observations were originally made at the Radcliffe Observatory but the weather station is now located in the grounds a few metres away. The first Radcliffe Observer was Dr Thomas Hornsby, Savilian Professor of Astronomy at Oxford, who in 1768 requested funds for an astronomical observatory from the Radcliffe Trustees at a cost of £30,000. He had a small rectangular room on the top of the Tower for astronomical observations, where he erected a rain gauge, thermometers, and wind-speed recorder on its small, flat roof. Although his weather records were done to correct star observations, his meteorological observations became increasingly important for their own sake. Hornsby's surviving meteorological records include fragments of a weather journal with entries for various dates between 1760 and 1804. On 27 January 1776, it was so cold he read the temperature 12 times instead of the usual three, noting in his journal that 'this day wine keg in my study froze'. The lowest air temperature he recorded in Oxford that day was about 6°F, which is just below -14°C. Some of the instruments he used are preserved in the Oxford Museum of the History of Science.
Radcliffe Meteorological Station
School of Geography and the Environment

redpajama_set_name: RedPajamaCommonCrawl


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João Menezes (nacido el 17 de diciembre de 1996) es un tenista profesional de Brasil, nacido en la ciudad de Uberaba.

Carrera
Su mejor ranking individual es el n.º 313 alcanzado el 14 de mayo de 2018, mientras que en dobles logró la posición 577 el 25 de septiembre de 2017.

No ha logrado hasta el momento títulos de la categoría ATP ni de la ATP Challenger Tour.

Referencias

Enlaces externos
Ficha oficial de la ATP

Tenistas masculinos de Brasil

redpajama_set_name: RedPajamaWikipedia


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I asked Leanne to help me photograph my latest class sample* and she insisted on modeling.
The poses are her own - and she's very proud of her ability to cross her eyes.
And yes, I do take the baby-grands out in the rain for pictures. Doesn't every granma?


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Morals between Bible and Quran: Divine Decree and Predestination (2)
Morals between Bible and Quran: Divine Decree and Predestination
The Christian concept of divine decree , fate or destiny is marred by ambiguity. In searching of Christians' understanding of this belief, we found a conflict of opinions. Some Christians reject the existence of this belief altogether; others make a distinction between faith in decree and predestination. They believe in the first while rejecting the second !
Father Michael Mena, says: "As for fate is the matter through which things are predestined without extravagance or shortcoming. In other words, it is a just requital in which a person may have a just reward or punishment for his/her acts. Such idea of decree and predestination does not exist in Christianity, but rather is taken from pagan acts of worship where they believe that their gods may value certain works, calamities or good things. In Christianity, the compulsory decree may be found in celestial bodies which have certain paths that are compelled to walk through".
Another Christian thinker says: "Christianity does not believe in decree and destiny. This is an Islamic thought, but that everything is subject to the authority of our living God. We believe in the power of prayer and the response of the Lord who does anything for the sake of his loved ones. God does not compel anyone and does not judge anyone wrongly on the pretext of fatalism and the saying that everything is judgment."
The Islamic vision and understanding of divine decree and predestination is considered to be reasonable and comprehensive. Allah-glory be to him- does not compel anyone to choose a thing or do it. He previously knew what to happen in future and wrote it.
Fathers have fallen into the misunderstanding and confusion of the reality of such concept, as their views were based on the apparent injustice of the Lord!
Father Michael says, "God's decree confirms the result of human actions and the freedom of their will to choose their actions. But Christianity rejects the compulsory decree of the idea of a person being judged before he is born to live as a disbeliever, a murderer or an adulterer. This is injustice and lack of knowledge of a just God. A murderer or adulterer, on the day of judgment, will be held accountable for something that was written upon him before s/he was born; even if the infidel repented or prayed to God, it is written that he should be so. Those beliefs are rejected by Christianity."
The Islamic point of destiny requires that God Almighty wrote what he knew that would be in future and no one was forced into his destiny, but they were given what they chose to do and this is what Christians could not understand, even though many texts contained in the Bible indicate the two aspects of compulsion and choice:
"to carry out the sentence written against them– this is the glory of all his faithful people. Praise the LORD." (Psalm 9: 149)
"But now, please forgive their sin–but if not, then blot me out of the book you have written." " (Exodus, 32/32).
"This day I call the heavens and the earth as witnesses against you that I have set before you life and death, blessings and curses. Now choose life, so that you and your children may live." (Deuteronomy, 30:19).
"Then Joshua said, "You are witnesses against yourselves that you have chosen to serve the LORD." "Yes, we are witnesses," they replied.." (Joshua 24:22).
With these texts, Christians cannot reject the principle of fate, decree, predestination or judgment, but it is the misunderstanding that has made them reject it or make wrong interpretations to it. Divine decree or predestination is addressed in the Qur'an with a comprehensive understanding:
"There is not to be upon the Prophet any discomfort concerning that which Allah has imposed upon him. [This is] the established way of Allah with those [prophets] who have passed on before. And ever is the command of Allah a destiny decreed". (33:38)
"And to Allah are [all] matters returned." (8:44)
"No disaster strikes except by permission of Allah. And whoever believes in Allah – He will guide his heart. And Allah is Knowing of all things". (24:22)(
Also such a doctrine finds a support in the Sunnah (narrations) of Prophet Muhammad (Peace be upon him):
The Prophet, (PBUH), said:
"You will believe in good and bad destiny." And he, peace and blessings of God be upon him, said: "Know that what was to affect you, will not happen to you,."and what was not to affect you, will not happen to you".
"A believer who is strong (and healthy) is better and dearer to Allah than the weak believer, but there is goodness in both of them. Be keen on what benefits you and seek help from Allah, and do not give up. If anything afflicts you do not say, 'If I had done such and such things, such and such would have happened.' But say, 'Allah decrees and what He wills He does,' for (the utterance) 'If I had' provides an opening for the deeds of the devil." Related by Muslim."
"The creation of you (humans) is gathered in the form of semen in the womb of your mother for forty days, then it becomes a clinging thing in similar (period), then it becomes a lump of flesh like that, then Allah sends an angel who breathes the life into it; and (the angel) is commanded to record four things about it: Its provision, its term of life (in this world), its conduct; and whether it will be happy or miserable. By the One besides Whom there is no true god! Verily, one of you would perform the actions of the dwellers of Jannah until there is only one cubit between him and it (Jannah), when what is foreordained would come to pass and he would perform the actions of the inmates of Hell until he enter it. And one of you would perform the actions of the inmates of Hell, until there is only one cubit between him and Hell. Then he would perform the acts of the dwellers of Jannah until he would enter it."[Al- Bukhari and Muslim].
If you are to collect the texts of the Bible together, you will reach the same understanding, but the ecclesiastical misinterpretation of the texts carries with it an approach that contradicts the requirements of sound thinking. Jesus is reported to have said
"Are not two sparrows sold for a penny? Yet not one of them will fall to the ground outside your Father's care." (Matthew. 10:29).
Islam, in its comprehensiveness of the concept of destiny, raises the value of acts. Allah-glory be to him- hided the fate of every act so that no one may take it as a pretext for his evil or good act although the acts themselves are created by God (Allah). The Prophet (PBUH) says,
"None will enter Paradise but will be shown the place he would have occupied in the (Hell) Fire if he had rejected faith, so that he may be more thankful; and none will enter the (Hell) Fire but will be shown the place he would have occupied in Paradise if he had faith, so that may be a cause of sorrow for him." (Sahih al-Bukhari).
Al-Bayhaqi says, "It is known that the actions are more than things, Had the people were the creators of all their acts or their deeds they would be superior to God who would the creator of things only! Therefore, the deeds of people are created the will of all because God Almighty said: "And God created you and what you do."
-Theology, Father Michael Mena.
-Sunnah books
-Belief by Bayhaqi
-Bible-hub.com
Sunnah.com
The Promised Son
Faith-And-Moral Issues Between The Qur'an And The Bible: (1) The Ten Commandments
Christ's Public Testimony on the Day of Judgement
The Holy Spirit Between Christianity And Islam
Jizya Between Christianity and Islam, Historical Facts
The New Testament in Question
Robert W. Mood
WESTERNIZATION AND HUMAN WELFARE
MARYAM JAMEELAH
The Islamic View of Jesus
The Problem of the Trinity
David Kemball-Cook
Truth About Reality Of Bible and Christianity
Shaykh Imdad Haque
WISDOM AND SOUND ADVICE FROM THE TORAH
The Plain Truth About Chrismas
Herbert W. Armstrong
Who was jesus?


text:
Hockey Hall of Fame 2019: Frank Brown can't fully put Elmer Ferguson honor into words
Written By Jackie Spiegel
@jackiespiegel93
(Credit: Frank Brown) https://images.daznservices.com/di/library/sporting_news/1d/ec/frank-brown-hhof-111419-frankbrown-ftrjpeg_1nho7m7dypez215hr5urgdz0w4.png?t=1829643518&w=500&quality=80
NEW YORK — Frank Brown sat across the table in a conference room perched high above Manhattan. He leaned back in his chair and took his time. He had just spent some time looking through old, yellowing clips from his days as a newspaperman with a smile that could light up Broadway. For once, a man who spent an entire career — 28 years, in fact — finding the right words appeared to be at a loss for them
Brown, the 2019 recipient of the Elmer Ferguson Memorial Award for excellence in hockey journalism as voted by the Professional Hockey Writers' Association, needed a moment to collect his thoughts on what it meant to have his peers select him for a place in the Hockey Hall of Fame.
"You know," he said after a long, emotional pause, "it's so complicated because we all read each other because we all needed to know if somebody had a story that we needed to match, that we needed to surpass. . . . And when writers read writers, they're as critical as they can be and the bar is set so high.
"So, to have a preponderance of the electorate say that he meets this standard . . . our standard, adds a deep level of meaning and impact to the experience. Will I ever be able to process it? No."
2019 HHOF class: Carbonneau | Nedomansky | Wickenheiser | Zubov | Rutherford | York | Hughson
Growing up in Manhattan, Brown realized at age 7, while watching the 1959 World Series between the Chicago White Sox and Los Angeles Dodgers, that he wanted to be involved in sports. While serving as a broadcaster or analyst was not in his wheelhouse, he quickly realized he had a gift for words — and a love for hockey.
"I walked down the aisle at the old (Madison Square) Garden and saw the ice, and heard the organ music and heard the puck slapping off of wooden sticks and the whooshing of the skates on the ice . . . and I was just pierced right through the heart," he told Sporting News of attending his first NHL game at the age of 13.
That first game in 1965 set Brown on a collision course with becoming one of the most prolific writers of his generation and someone who would cover some of the biggest moments in the history of the sport. First with The Associated Press and then the New York Daily News, Brown covered the "Miracle on Ice" in 1980 and Stanley Cup championship wins by the Montreal Canadiens in the late '70s, the dynastic New York Islanders in the early '80s and the New York Rangers in 1994 as the franchise ended its 54-year dry spell.
"At last. At long, long last, the Rangers are Stanley Cup champions," Brown wrote as he watched years of futility come to an end at the Garden on June 14, 1994.
Canucks fans are sad today. What a shame. Ranger-haters everywhere are miserable today. The hell with them. Ranger fans are ecstatic today. They should be. All the ghosts are gone. The tortured spirits can rest. 1940 is just a number now. Because the Rangers are champions.
Brown's writing connected with readers across the five boroughs of New York City. His words resonated with New York sports fans because, as he put it, he was "channeling the emotions, the frustrations, the passions, the craziness of the fans, through myself out my fingers into the copy." He took his responsibility as their representative to heart — to get the story that brought them inside the rink, inside the team and inside the locker room.
"It was a sacred trust," he said. "It was not something to be taken lightly. If you get that access, if you get that ability to connect with the people that the audience is paying to watch, and they're paying to read, they're paying me to read my stuff . . . I couldn't let them down. I couldn't disrespect the honor. I couldn't disrespect the audience."
Like the career of the late Elmer Ferguson, the clicking of the typewriter defined Brown's work in those early years, before today's computers and Twitter and instant reaction; do not, however, call him a typist. As he put it, he was a writer whose purpose was engaging, informing and entertaining and providing "at least one thing that they may not have seen, may not have thought about or had no opportunity to have heard."
Herb Brooks. Scotty Bowman. Bob Johnson. Ken Hitchcock. Mark Messier. Ken Dryden. Mario Lemieux. Guy Lafleur. Those were just some of the coaches and players Brown could consistently go to for the information he needed to elevate the story; however, he also wouldn't hesitate to break away from the reporting pack. As a staff writer, the lead hockey writer at the AP, the Daily News' Rangers beat writer or a columnist, his objective was to stand back, find other angles and talk to the fourth-liners — or even the equipment guy.
"Don't be afraid," he asserted. "Don't be afraid to be yourself, to believe in your words to know that only you could tell the story the way that you tell it. . . . Find the connection to your reader so that whatever it is, it's authentic and it's modest and it's respectful of the language and the audience and the story."
Good Sir or Madam, wherever you are, wherever you were, thank you for the Cup that makes hockey better than any other sport. Men will work all their lives for the privilege of crying over the Cup. — excerpt from Frank Brown's essay in "Why Is the Stanley Cup in Mario Lemieux's Swimming Pool?: How Winners Celebrate with the World's Most Famous Cup"
Every morning the newspaper would be tossed onto the white concrete steps of a residence on a quiet block in the middle of Brooklyn. The New York Daily News belonged to my grandmother, but every morning before I was driven to elementary school or the bus came to whisk me away across the borough to junior high or when I returned home after filling my head with math or history or science, my fingers flipped through the pages, scanning until the byline of Frank Brown appeared.
His words were magic; they danced across the newsprint, turning the intricacies of a 60-minute tilt into a poetic story that captivated this young reader and others. He validated what we saw on a nightly basis while also illuminating things that may have been missed or to which we were not privy. As Brown said, "My essence, my burning fire was hockey," and he brought that love of the game to — and stoked the fire in — his readers over the course of almost three decades.
Back on that cloudy day in New York, in the conference room overlooking the city where he once dominated the sports media, Brown peered through those yellowing pages of clips from his time with the Daily News. It transported him back and filled his mind with just the sheer volume of his work and the memories of people and moments, of walking out of the press box every night feeling that he did the best job each and every night.
The team gets defined not by its name or its jersey but by the triumphs, the feelings it inspires and the people with whom those feelings get shared. When one season ends, for better or worse, you count the days until opening night, when you can climb inside the concrete puck again and be whatever it is you are.
"To see your name on a piece is an out-of-body experience," he said. "To see your photo on a column in a paper like this is is a pinch-me moment. Are you serious? Right. But then to imagine your face on glass in the Hall of Fame, you can't — I'm not that good. I'm not good enough to put that, to capture the meaning of that."
It has been almost eight months since Brown received the call from then-PHWA president Mark Spector telling him he would be the 2019 Elmer Ferguson Memorial Award recipient. Eight months to ponder and enjoy, to delve into the world of Elmer and his intricacies. While he has written his speech and is prepared for the moment, he still has trouble grasping the honor as the calendar has turned to November.
"You don't devote your career to getting into the Hall of Fame; you don't," he said. "You devote your career to writing the best story of the day. Write the best story in the paper. That was it. That's what I want to do. I want the best story in the paper, every damn day. You don't do this with this in mind. So that means you don't ever consider if your peers say, 'Yeah, you're in. You're in, you're getting a plaque.'
"For it to happen now, for it to happen at all, it's surreal. It's surreal. And, and, it's indescribable. It's, it's indescribable and I laugh at the fact that I'm getting a plaque for finding the right words — and I can't really find the right ones for this."


This week on The Frank Truth Frank Sinatra Podcast, I'm pleased to welcome Arranger, Conductor and Record Producer Charles Calello to the program. Mr. Calello served as Arranger and Conductor for Frank Sinatra's Watertown album.
You can download the MP3 file here. Here's the episode page at MEVIO, or you can also subscribe to our show for free at the iTunes Frank Truth Page.
My thanks to Mr. Calello for taking the time to speak with us.
This week on The Frank Truth Sinatra Podcast, we take a listen to a misunderstood and often overlooked Frank Sinatra classic, Watertown.
Click here for the MP3, or subscribe for free through iTunes.
Remember that we have tickets to give away for the Akron Symphony Fanfare 2009 Simply Sinatra Event with guest vocalist Steve Lippia being held on May 16th. Send an email to frankfeedback@gmail.com with the subject line "Akron Symphony Concert" no later than April 25th and we'll put your name in the hat for the drawing. If you'd prefer to go ahead and purchase tickets for the event, you'll get a discount if you mention you heard about it on The Frank Truth. Thanks again to Jason Swank of the Symphony for providing the tickets and the discount.
UPDATE 27 April 2009: Congratulations to Dan, Kyle and Frank who were our winners in the concert drawing!
This time around on The Frank Truth Sinatra Podcast, we've got an interview with Jason Swank of the Akron Symphony about their May 16th Fanfare Concert "Simply Sinatra" with guest vocalist Steve Lippia.
Here's the MP3 or you can subscribe for free in iTunes.
On the next episode of The Frank Truth, we'll be speaking with Jason Swank of the Akron Symphony Orchestra about a special program they're presenting on May 16, 2009 for their annual fund raising gala. It's Steve Lippia along with the full orchestra in an evening of Sinatra tunes. The Symphony is offering a discount on tickets to listeners of the show, and you'll also want to listen in to find out how you can enter a drawing for a pair of free tickets to the concert.
We'll have details on the next Frank Truth.


text:
El Santuario de la Virgen de Lugás, también conocido como Nuestra Señora de Lugás, es un templo católico dependiente de la Archidiócesis de Oviedo en Asturias, norte de España, que es también sede de la parroquia de Santa María de Lugás.
Se encuentra en la parroquia (civil) homónima del concejo de Villaviciosa, en las proximidades de la aldea de Cajide.

En 1684 se construyó la sacristía y, en 1687, se amplió la iglesia y se levantaron la capilla  mayor y el crucero principal. En 1690 se terminó la capilla del Santísimo Cristo y de la Virgen de los Dolores, la capilla de Nuestra Señora del Viso o «de la Visitación» y la capilla mayor. A lo largo del  se construyó la escalera de acceso a la tribuna, se reedificó el campanario y se edificó la «Casa de las Novenas». En 1832 se terminó la nueva espadaña, con sus campanas de nueva adquisición y una placa conmemorativa que dice: «Los devotos de María. Año 1832; D.O.M.». A finales del  se construyeron dos cabildos, un edificio que le llamaban «El Polvorín», ya que estaba dedicado a la fabricación de cohetes, otro para cobijar las caballerías de los peregrinos y un «Altarín» o «altar sacramental», situado en el exterior del templo, en la explanada del santuario, que se deterioró y se aprovecharon las obras de restauración en 1987 para darle su antigua forma.

Emplazamiento

A unos 6 km de la villa de Villaviciosa, tomando la carretera AS-255 de Villaviciosa a Infiesto, a los 5,5 km hay una desviación a la izquierda que indica claramente la dirección del santuario. Este tramo es corto, de unos 500 m, es carretera en subida y muy sinuosa, que va a conectar con la AS-332. La subida discurre en gran parte por una masa arbolada. Al llegar a la parroquia de Lugás se divisa otro cartel indicador del santuario. Otro tramo de carretera, fuertemente ascendente, de unos 300 metros, lleva hasta el propio santuario que está sobre «una altura despejada y alegre», como dice Pascual Madoz.

Desde la plataforma que corona el altozano se divisa Villaviciosa, su ría y el mar Cantábrico, a la cual es muy agradable —y a la vez exigente— subir en bici, ya que las duras pendientes en esos pocos kilómetros se ruedan muy despacio, y hay más tiempo para recrear la vista en los diferentes niveles y observar cómo aparecen nuevos paisajes tras cada curva, que son muy pronunciadas.

El conjunto de edificios que están construidos en ese lugar consta del propio santuario, la antigua casa de novenas —que hoy en día hace las funciones de casa rectoral—, antiguas escuelas, el «polvorín», el cementerio, «la obra» —dedicado antiguamente a la venta de comidas y bebidas a los romeros y peregrinos—, y una no muy grande explanada donde se sitúan los romeros después de los oficios religiosos.

Historia áurea

Emplazamiento deseado por la Virgen
De acuerdo a la tradición oral, la construcción comenzó en un lugar donde había un robledal, en Llorón. Pero cada noche el trabajo de cimentación era deshecho y los materiales volvían a su sitio original. Esto se repitió hasta que la Virgen les indicó el emplazamiento en que debía ser construida la iglesia que, según interpretaron quienes presenciaron la aparición, era un sitio equidistante entre «los caxigales de la Carbayera» y «les cáxides de la Quilambre» llamado Lugás, por lo que los habitantes de la zona llamaron a la iglesia Sancta Maria ad Luccasium.

Descubrimiento de la talla de la Virgen

También pertenece a la tradición el origen de la talla de la Virgen. Por la misma fecha y en un sitio próximo a la aparición de la virgen, un labrador encontró mientras araba una escultura enterrada en su terreno y junto a su esposa comenzaron a rendirle culto. Inicialmente pensaban que la estatua era manca, probablemente por el choque con el arado. Sin embargo, con los años se descubrió que la mano estaba entre los pliegues del manto.

Historia documentada

El origen del santuario se remonta al año 745 cuando el  Papa Zacarías hizo una donación al rey  Alfonso I en la que se mencionaba la «Iglesia de San María de Lugás». También el estudioso del románico José Caveda y Nava recoge la tradición que existía de la cesión antes indicada entre el rey Alfonso I y el papa Zacarías, pero no existe acreditación documental que respalde estas afirmaciones.  A partir de 1385 ya mencionaba el Libro Becerro de la Catedral de Oviedo a esta iglesia como  parroquia. A finales del  se construyó la «Casa de las Novenas», con el fin de servir de albergue a las personas que acudían a celebrer la novena.

Durante el   se llevaron a cabo una gran cantidad de obras de mejora y  ampliación como son la ejecución del retablo de  Santo Toribio, el retablo mayor, la ejecución de la imagen del  Santísimo Cristo por el escultor asturiano Luis Fernández de la Vega, la ampliación de la iglesia, la construcción de la nueva sacristía y  la obra de las capillas laterales.. Una de las obras más importantes de este siglo fue la finalizaron las capillas de la Virgen de los Dolores y del Santísimo Cristo, en el año 1690. La bóveda es nervada cuatripartita, o bóveda de crucería simple, que es el diseño más sencillo de bóveda de crucería. En este caso tiene un nervio circular y otros que parten desde las cuatro columnas del transepto para morir en dicho nervio.El arco tiene una inscripción que da fe de la fecha de terminación. Dice así:

En el  también se acometieron una serie de mejoras importantes del santuario como son: la fabricación y colocación de la pila del agua bendita en la achada principal, la construcción de una escalera de acceso a la tribuna, la reparación del campanario antiguo, le ejecución del antiguo cabildo que costó 154 rs., se encargó el retablo de Nuestra Señora de Lugás al escultor Manuel González Manjoya por un importe  de 1500  reales de vellón y su pedestal, se enlosó del piso de la iglesia que costó 617 rs., se doró el  retablo mayor cuyo importe fue de 1823 rs., se hizo el retablo del   Santísimo Cristo antes citado con un coste de 1500 rs., el retablo de la Virgen del Rosario por un importe de 1120rs., se doró la imagen de Santo Toribio, se remodeló el campanario, se lo coronó con una cruz de hierro y se hicieron algunas obras suplementarias, todo ello por un importe total de 369 rs., se hicieron unas puertas para el templo, una peana para la Virgen de Lugás y un altar de tipo romano por un importe de 1207 rs. y 17  maravedís, se pintó el retablo de la sacristía, el arco de entrada a ella y el púlpito. En el último año de este siglo se reedificó la «Casa de Novenas» que tuvo un coste de 3819 rs. Por lo que respecta a actuaciones religiosos destaca el que en 1724 ya estaba creada la «Capellanía de San Pedro» y en 1784 se pidió licencia para fundar la «Cofradía de Nuestra Señora del Rosario». En el año 1790 se celebró la fiesta de Nuestra Señora del Rosario por primera vez..

En el  se terminó la edificación de la «Casa de las Novenas», secompró una lámpara de plata por 110 rs. y que pesaba 62  onzas, se instaló una gran vidriera y se dotó a la iglesia de una nueva  espadaña que sustituyó a la que tenía desde el . Esta nueva espadaña sufrió las consecuencias devastadoras de un rayo que cayó sobre ella el 8 de marzo de 1832 por lo que tuvo que ser reparado y cuyos gastos ascendieron a 4428 rs. Los donativos de los peregrinos fueron la principal fuente de ingresos para esta reparación por lo que, en conmemoración de ello, se colocó una lápida con la siguiente inscripción: «LOS DEVOTOS DE MARÍA, AÑO 1832, D.O.M.». se pusieron rejas de hierro delante de la Capilla Mayor, y se edificaron los cabildos de las zonas este y oeste..

Estructura y arquitectura

El conjunto arquitectónico lo componen el templo con sus pórticos y atrio, la Casa de las Novenas, la casa rectoral, la biblioteca, el «Altarín» y el «Polvorín», que forman un conjunto armonioso en la explanada que corona el cerro donde se encuentra el santuario.

La iglesia románica se construyó sobre otra anterior de la que no quedan restos; «la primera fundación se remonta a principios de la Reconquista; lo más importante que se conserva corresponde ya al periodo románico del siglo XII», según estudios del artista y arqueólogo Magín Berenguer.

El templo original constaba de una nave rectangular rematada por una cabecera que tenía un tramo recto y un ábside semicircular a continuación; fue construido en el  y derribado en parte para una reforma que tuvo lugar a finales del  en la que se construyó el crucero y la cabecera. Solo conserva de estilo románico las portadas al oeste y al sur y el arco del triunfo con seis columnas y sus capiteles; también se construyó durante estas obras de ampliación de la iglesia una sacristía adosada a la fachada norte. En las obras que se hicieron a mediados del  se construyó el atrio que rodea la fachada principal y el muro sur. La sacristía adosada al muro norte, a la altura del presbiterio, se decoró en el  con dos óculos abocinados que dan hacia el exterior, al igual que en el muro occidental, pero estos son de mayor tamaño y están más decorados en su interior.
El santuario no es de grandes dimensiones, pero tiene una suntuosidad muy peculiar y es uno de los santuarios marianos de mayor interés artístico de Asturias. Los muros de toda la nave románica están hechos con sillares muy bien escuadrados lo que se considera como hecho de excepción y diferencial en los templos rurales de esta zona.

Su estilo arquitectónico, similar al de otros templos románicos de la zona, permite deducir que sus sillares pudieron ser fabricados en el mismo taller, situado en la zona de Villaviciosa, donde se labraron los de San Esteban de Aramil en Siero, San Juan de Amandi y Santa María de Narzana. Por las mismas razones, pudieron haberse construido en el mismo taller algunos templos de los valles mineros de los ríos Caudal y Nalón, como son las iglesias de Santa Eulalia de Ujo y San Esteban de Ciaño.

Reuniendo todos los datos comunes, parece bastante probable que el monasterio de Valdediós edificara las iglesias de Ujo, Amandi y Aramil, ya que los patronos de esta última están ligados al monasterio cisterciense citado.

Puerta principal y fachada a occidente

Arquitectónicamente, destacan las dos portadas románicas: la occidental, que está situada sobre un cuerpo saliente del edificio, y la orientada al sur, de menores dimensiones. La puerta principal, con su «arco del triunfo», tiene tres arquivoltas y tres columnas a cada lado de la puerta con sus correspondientes capiteles. En el muro en el que están las puertas destacan los sillares muy bien escuadrados, algo extraño en aquella época, en la que solo se ponía más interés en las partes fundamentales de soporte de la estructura, como son esquinas, columnas soporte de techo, etc.

El diseño estructural de la puerta principal a occidente está formado por tres arquivoltas de medio punto. La arquivolta exterior está decorada con motivos geométricos en zigzag, la arquivolta intermedia está decorada con unos dibujos que asemejan cañas, y la tercera o interior está compuesta por veintiséis círculos de pequeño tamaño, donde se inscriben hojas cuadrifolias simétricas pero giradas unos grados las de cada círculo respecto a los siguientes. Se apoyan sobre impostas y tres pares de columnas con capiteles decorados con motivos vegetales y de figuras. Todas las arquivoltas están protegidas por un guardapolvo superior semicircular compuesto por tres filas de tacos lisos al tresbolillo y un tejaroz recto y horizontal en la parte superior, sostenido por nueve canecillos separados por tacos con figuras geométricas. Dos canecillos tienen forma zoomórfica: uno representa la cabeza de un animal felino y el otro a un cuadrúpedo. Otros canecillos tienen figuras vegetales o geométricas muy diferentes. Entre ellos, y a modo de separación, hay unos tacos con figuras circulares e, inscritas en cada círculo, otras figuras casi geométricas en forma radial al círculo. En la parte derecha de la puerta tiene una pila de agua bendita de piedra entre la columna intermedia y la exterior, hecha de una sola pieza, pero de ejecución muy posterior a las columnas de la portada. En la portada, en la parte izquierda, se pueden distinguir dos escenas de la Virgen: una es la Presentación de Jesús y Purificación de la Virgen, y la otra es la Visitación de la Virgen a su prima santa Isabel.

Capiteles de la zona izquierda

El primer capitel es el más trabajado, y representa a un par de animales con cuerpo aleonado y con una cabeza de monstruo. Hay una figura humana entre ambos que parece estar rezando, pues tiene las manos juntas y la mirada algo levantada. Tanto la tradición como los expertos comentan que esta figura representa al profeta Daniel cuando fue arrojado a una fosa con leones. En el segundo capitel, o capitel intermedio, se representan hojas triangulares con los bordes dentados y apuntando hacia abajo. El capitel más exterior, el de la izquierda o tercer capitel, tiene grabadas cintas formando figuras de grandes hojas de palma abiertas, de las que cuelga una especie de fruto parecido a una piña. Otra opinión de expertos respecto al primer capitel es que bien pudiera representar la lucha entre el bien —identificado en la figura humana central— y el mal, representado por los animales. Esta composición, más o menos similar, se repite en otros templos de Asturias y de otras comunidades, como ocurre en San Cipriano de Zamora. Dentro de Asturias se repite en Amandi, en la cercana Villaviciosa; y en Sotiello y Ujo, en los concejos de Lena y Mieres, respectivamente. También hay alguna iglesia con capiteles que repiten estos motivos en la provincia de León.

Capiteles de la zona derecha

Estos capiteles, distintos a los anteriores, también colaboran a la decoración de la puerta principal del templo. El capitel interior, el más próximo a la puerta, está decorado con hojas de nervios rizados y forma triangular invertida. El segundo y tercer capitel tiene hojas nervadas, entrelazados y volutas. Sobre los capiteles de ambos lados hay unos cimacios decorados por cintas que envuelven motivos geométricos, palmetas y otros motivos de tipo vegetal. Las hojas nervadas están en posición invertida, es decir, con la punta hacia abajo, lo mismo que ocurre en la iglesia de Sotiello (Lena), en la de Arbás del Puerto (en León, casi en el límite con Asturias por el puerto de Pajares), en Amandi en (Villaviciosa) y algún otro más de la zona.

Sobre los capiteles de uno y otro lado se sitúan nueve canecillos con alineación recta, que a la vez sostienen el alero o tejaroz, que es la parte de la cubierta que sobresale del muro.

Fachada al sur y su portada

La portada situada en la fachada sur es más sencilla, pues solo tiene dos arquivoltas de medio punto, una decorada con «rollos zamoranos» cerrados y otra con cabezas en pico que se esculpen a medio relieve. La doble arquivolta está protegida por un guardapolvo y se apoya sobre columnas a cada lado con capiteles decorados. En la arquivolta exterior, las cabezas en pico se relacionan con rostros humanos de tradición normanda, pero parecen más bien, en este caso, cabezas de lechuza, más inusuales como elemento decorativo pero de gran contenido simbólico. Estas cabezas en pico se encuentran también en Francia, Inglaterra e Irlanda: en Francia están en templos de Normandía, Guyena, Borgoña y Poitou, entre otras regiones; en Inglaterra se encuentran en gran número de templos en los condados de Lincoln, Hereford, Kilkhampton, York, Cornualles y varios más; y, en Irlanda, en el templo del condado de Offaly. Por otro lado, las cabezas en pico inscritas en un semicírculo que hay en este santuario son muy similares a las existentes en las iglesias del condado de Cornualles, como son las de Morwenstow, Kilkhampton y algunas más.

Estas decoraciones se pueden ver en Asturias en numerosos templos, no solo de la zona de Villaviciosa, sino en las zonas de los valles mineros de los ríos Caudal y Nalón, como son las iglesias de San Esteban de Ciaño, Santa María de Arbas, San Juan de Mieres, San Esteban de Aramil y San Juan de Amandi, con la diferencia de que estas cabezas en la zona de Villaviciosa tienen forma triangular.

La segunda arquivolta está decorada en su totalidad por «rollos o lóbulos zamoranos» cerrados, que tienen como característica principal el que se emplearon por primera vez en la Portada del Obispo de la Catedral de Zamora, que tiene las cuatro arcadas con rollos, por lo que suelen llamarlos así. Sin embargo, para otros especialistas en la materia, como son  Gudiol y Gaya Nuño, este tipo de decoración ya había sido utilizada en un arco de la Mezquita de Córdoba; algún otro lo fecha en épocas mucho más anteriores, como Chueca Goitia, que lo vincula a decoraciones sirias. Junto a la vieja mezquita arábiga de Huesca se alzaba en el  la pequeña iglesia románica dedicada a Santa María de los Gozos, de la que queda un pórtico compuesto por tres arquivoltas con rollos exentos en su intradós. Se pueden encontrar en zonas más próximas en las iglesias de San Esteban de Aramil, Santa Eulalia de Ujo y San Esteban de Ciaño. En el  se le añadió un pórtico de columnas que rodea a la iglesia a modo de atrio por las fachadas que dan al sur y a occidente, fundamentalmente por las cuestiones meteorológicas adversas que sufren las zonas norte u oriental.

Capiteles de la puerta meridional

La puerta lateral al sur tiene solamente dos columnas con sendos capiteles y guardapolvos. Están apoyadas en plintos sencillos y elevados del suelo por encima del rodapié que rodea la portada.

El capitel de la parte derecha de la puerta representa una cabeza que más bien parece humana, que está comiéndose unas grandes hojas que ocupan casi toda la cesta y que se dividen en dos especies de ramas que se voltean hacia la parte superior del capitel, hasta la altura de la cabellera del ser que se las come. El capitel de la parte izquierda está formado por unas cintas ampliamente enlazadas y trenzadas. A todo lo largo de ellas y en su parte central tiene una especie de perlas o adornos cuadrados. Todo este trabajo está en altorrelieve sobre un fondo en el que aparecen tres rombos casi cuadrados. Es un capitel de gran belleza artística y geométrica, aunque se desconoce el significado.

Estructura y decoración del interior del templo

En el interior, la nave se separa de la entrada por un arco románico de doble arquivolta con motivos en zigzag que se apoya sobre columnas con capiteles decorados. La nave tiene una cubierta de madera y la de la cabecera es una bóveda nervada estrellada; la sacristía está cubierta con bóvedas nervadas baídas. Hasta finales del , en el que fue derribada parte del templo, el arco triunfal comunicaba directamente con la única nave y el ábside. Este arco tenía tres arquivoltas semicirculares que se apoyaban en plintos o pedestales, que son elementos en forma de paralelepípedo dispuestos bajo la basa, que es la parte inferior de la columna que tiene como fin servir de punto de apoyo al fuste de la columna o de la pilastra, formando parte de ella, generalmente apoyada en el suelo.

Las tres arquivoltas semicirculares —que también en este caso estaban protegidas por guardapolvo— se apoyaban en columnas que, a su vez estaban sobre plintos. La primera, es decir, la más exterior, estaba decorada con el motivo geométrico del zigzag; la segunda o intermedia disponía de molduras aboceladas, que tiene forma de bocel, consistente en una moldura convexa lisa, de sección semicircular, y una cenefa adornada con motivos vegetales; la tercera rosca o arquivolta no tenía adornos de ningún tipo.

De los capiteles de la izquierda, uno representaba a dos aves enfrentadas; otro a la Virgen, que sostiene al Niño Jesús entre sus brazos; y el tercero unos motivos florales que podrían ser palmas, junto a un par de músicos a cada lado. Los de la derecha tienen: uno a dos leones enfrentados pero no en actitud de lucha; los otros dos estaban decorados con motivos florales. Los leones enfrentados es un motivo decorativo muy frecuente en iglesias de Asturias, como las de Santa María de Narzana, Ceares, San Andrés de Valdebarcena y Ujo.

El retablo actual data de 1751 y es obra del escultor ovetense Manuel González Manjoya pues el anterior retablo de santo Toribio y el camarín fueron destruidos por un incendio. El retablo se terminó el año 1760, al mismo tiempo que el enlosado del templo, que posteriormente fue recubierto por el actual enlosado de mármol. El retablo de la Virgen del Rosario se concluyó en 1788 y el del Santo Cristo en 1783. La imagen de Nuestra Señora de Lugás está situada sobre una gran peana que se realizó en 1789 y el retablo mural de la sacristía, en 1796. La imagen de la Virgen es una gran talla del , actualmente de vestir, que tiene al Niño Jesús entre sus brazos, sentado sobre el brazo izquierdo. El Niño tiene una manzana en su mano derecha y un libro en la izquierda.

Otro motivo a destacar son las marcas de cantero, que son símbolos o alegorías grabadas por los canteros en la piedra, que en la antigüedad y Edad Media representaban realidades o ideas abstractas mediante sus rasgos, figuras o atributos; en la actualidad desconocemos su interpretación, por haber perdido o cambiado su significado simbólico.

En este templo se repiten mucho las letras S, P, M y B, además de una estrella. Con estos símbolos también ocurre lo mismo que en las decoraciones de los capiteles, y es que se repiten prácticamente en las mismas iglesias o zonas, como son: Santa María de Narzana, Ceares, San Andrés de Valdebarcena y Ujo, además de varias de la zona de Villaviciosa que es donde se ubica este templo de la Virgen de Lugás.

Retablos e imágenes en el Santuario de Lugás

Cuadros de la Inmaculada y la Magdalena

El santuario tiene dos cuadros de gran tamaño situados en los brazos de la planta de la edificación. Uno es una reproducción del cuadro que hizo Murillo de la Inmaculada Concepción para poner en la Catedral de Sevilla.

El otro es un cuadro de María Magdalena penitente, copia del que pintó José de Ribera "El Españoleto".

Retablos viejo y nuevo de Nuestra Señora de Lugás

El retablo es de 1676. Está formado por el camarín actual que el maestro Manjoya incorporó al retablo nuevo de la Virgen de Lugás, de estilo románico, si bien se realizó mucho más adelante, con el Niño en su parte izquierda. Para la imagen de la Virgen se encargó un manto en 1850.
El retablo nuevo conserva la imagen románica de la Virgen de Lugás con el Niño en brazos, pero, ya en el , la transformaron en «imagen de vestir». Además de la Virgen, están las imágenes de san José de 1858 —que se colocó en el retablo en 1946—, la de san Pedro y la del Sagrado Corazón de Jesús. En el año 1946 se añadió la de san Antonio.

Retablo viejo del Santísimo Cristo
El retablo viejo tenía dos imágenes sobre sendas peanas que podrían ser de la Virgen y de san Juan. Antes de 1690 estaban situados en la única nave que tenía el templo, en el lado correspondiente a la epístola. En el inventario que se hizo en 1708 figuraban las imágenes de  San Miguel y  San Roque si bien en la actualidad solo queda una efigie del «Santísimo Cristo» ya que las otras dos se quemaron en un incendio en 1937.

Retablo nuevo del Santísimo Cristo y Virgen de los Dolores
El retablo nuevo es del  y su autor fue un artista de la localidad de Nava, a unos 18 km del Santuario de Lugás. Este retablo lo presidía una valiosa imagen del Santo Cristo que parece ser de Luis Fernández de la Vega (1601-1675), según el investigador Ramallo Asensio. El retablo está flanqueado por las imágenes del arcángel san Miguel y  San Roque. En la sacristía existía un retablo pintado de Jesús Crucificado con la ciudad de Jerusalén al fondo. Estaba hecho en 1829 pero en la actualidad ha desaparecido.

Retablos de Santo Toribio y de San Antonio

El retablo de santo Toribio estaba situado en una hornacina de la nave del lado del evangelio. La imagen era barroca y tenía un báculo dorado. Era obra de Juan de Medina Cerón, y data del año 1605. Tenía a su alrededor las imágenes de santa Apolonia, santa Eulalia, san Roque y san Antonio de Padua, todos ellos realizados en medio relieve. Este retablo desapareció en un incendio en 1937. En la actualidad, ocupa su lugar el retablo de la Virgen del Carmen.

El de san Antonio data del , en el cual la imagen del santo era «de vestir», para lo cual se adquirió en 1850 un manto bordado en oro. Este retablo fue destruido por un incendio que también tuvo lugar en el año 1937.

Retablo de Nuestra Señora del Viso

Este retablo, que en principio fue situado sobre el altar dedicado a Nuestra Señora del Viso y que posteriormente ocupó su lugar la Virgen del Rosario, se construyó en el año 1784 por Francisco López. Tiene, además de la figura de la titular, Nuestra Señora del Viso, la del arcángel San Miguel, que era muy venerado y querido por los peregrinos que acudían desde Carreño, Gozón y Avilés. Sin embargo, casi un siglo antes, en 1708, ya se hablaba de las imágenes de san Francisco y de Nuestra Señora del Viso. En la actualidad no aparecen ninguna de las tres imágenes y, en su lugar, están las de Nuestra Señora del Rosario, la de santa Marta y santa María Magdalena.

Conclusiones de los expertos
A la vista de los datos proporcionados más arriba, los expertos en las construcciones prerrománicas asturianas parecen deducir que la iglesia de Lugás la hubiese construido el monasterio de Valdediós a comienzos del . También las numerosas identidades entre los elementos decorativos de Lugás y los de otros templos como los antes citados llevan a la lógica conclusión de que todas ellas fueran construidas por las mismas personas o, al menos, por personas de los mismos talleres.

Privilegios

Desde tiempos inmemoriales, el santuario de la Virgen de Lugás y sus devotos y peregrinos disfrutaron de varios jubileos, cumpliendo siempre las «condiciones acostumbradas» que dice la Iglesia católica: comulgar ese día —confesando previamente si no se estuviera en estado de gracia—, confesar en el plazo de una semana, anterior o posterior a la fiesta, rezar el Credo y una oración por el papa, y aborrecer cualquier pecado venial o mortal deliberado que se hubiese cometido.

Jubileo antiguo

Desde el  —o quizá antes— el santuario de Nuestra Señora de Lugás tenía «jubileos plenarios», aunque no se sepa con certeza la fecha y el papa que lo concediese. Se podía lucrar indulgencia plenaria visitando el santuario los siguientes días (por orden cronológico del año natural): el 23 de marzo, día de santo Toribio; el 24 de junio, san Juan Bautista; el 8 de septiembre, Natividad de Nuestra Señora; el 29 de septiembre, día de san Miguel Arcángel; y el primer domingo de octubre, día de Nuestra Señora del Rosario.

Jubileo del papa Pío VI

El papa Pío VI reiteró los privilegios que ya tenía el santuario mediante un breve apostólico que dice así:

Explicación del jubileo del papa Pío VI

Dado que el breve del papa Pío VI designaba un día concreto para lucrar indulgencias y dejaba otros días del año «que habrán de ser determinados», el obispo Gregorio Ceruelo de la Fuente lo aclaró en una visita pastoral que hizo en 1920 al arciprestazgo de Villaviciosa, de la siguiente manera:

Jubileo del papa Juan Pablo II

A finales del , el papa Juan Pablo II decidió ampliar los días en que se podía lucrar el jubileo de la siguiente manera:

Explicación del jubileo para el Año Mariano

Con motivo del año mariano de 1987-1988, el papa Juan Pablo II concedió la posibilidad de lucrar indulgencia plenaria, como se observa en el apartado anterior; el arzobispo de Oviedo, Gabino Díaz Merchán, nombró al santuario de la Virgen de Lugás como «santuario comarcal» de la siguiente forma:

Favores y milagros

Desde que aquel labrador encontrase enterrada una estatua de madera de la Virgen mientras araba, el pueblo no ha cesado de poner bajo su protección e intercesión poderosa ante su Hijo necesidades de todo tipo: vidas y ganados, los que peligraban de perder un pie o una mano, los afectados de enfermedades, etc. Los que recibieron los favores pedidos solían llevar al santuario exvotos  y dejarlos colgados en las paredes del santuario como ofrenda, recuerdo y modo de agradecimiento. Llegó el momento, como ocurre en otras iglesias y santuarios, que la cantidad de exvotos era tal, que hubo de destinarse una zona para ellos, de tal forma que se evitara que estuvieran dispersos por el santuario.

Los exvotos suelen consistir en objetos que se relacionasen con la petición hecha y concedida, como bastones, muletas o distintas partes del cuerpo sanadas, hechas en miniatura en cera blanca. En los últimos tiempos se habilitó un «libro de peticiones y agradecimiento» que todavía permanece, si bien son tomos que se han ido reponiendo sucesivamente según se completaba el anterior, ya que la cantidad de deseos, favores recibidos y muestras de agradecimiento fue creciendo, mientras que la costumbre de siglos anteriores de dejar exvotos ha ido disminuyendo, posiblemente por la mayor facilidad que ofrece el libro para expresar la devoción a la Virgen de Lugás. En el incendio que sufrió el santuario en 1937 desaparecieron una gran mayoría de los exvotos de cera.

La relación de favores y milagros es tan extensa que resulta imposible relacionarlos en este apartado. La primera noticia es de 1673 y, hasta la actualidad, no han dejado de crecer las muestras de agradecimiento de los fieles. Una pequeña parte ha sido recogida por Agustín Hevia Ballina en su libro Santuario de la Virgen de Lugás, donde ocupa unas cinco páginas.

Fiestas, devociones y tradiciones

El santuario de la Virgen de Lugás pasaba por ser uno de los santuarios más visitados de Asturias, y la afluencia de romeros era mayor en Lugás que en Covadonga. La razón por la que ocurría esto era que, aunque Lugás no está en el Camino de Santiago, queda relativamente cerca de él, y muchos romeros se desviaban para visitar a la Virgen de Lugás, mientras que Covadonga queda muy distante del Camino. En este sentido se pronunciaba Pascual Madoz en su conocido Diccionario Madoz. Diccionario estadístico e histórico de los pueblos de España. Censo económico. Padrón. También indica este autor que la afluencia era tal que los donativos que dejaban los peregrinos por su devoción a la Virgen de Lugás y por los favores recibidos que «las limosnas recolectadas en el día y víspera de la Natividad, tanto en dinero como en grano, cera y otros art., nunca bajan de 17,000 rs., ascendiendo muchos años a mayor cantidad».
Este santuario está bajo la advocación o dedicación de la Natividad de Nuestra Señora, que se celebra el 8 de septiembre, el mismo día que la Virgen de Covadonga. El hecho de su buena ubicación —cerca del mar y de la montaña, en el centro de Asturias y con muy buenas vías de comunicación y accesos— ha influido en gran manera en su poder de convocatoria y en la gran afluencia de peregrinos. A esto hay que añadir los privilegios concedidos al santuario desde el . Según afirma Agustín Hevia Ballina, párroco del santuario:

Por lo que respecta a la afluencia de romeros y peregrinos, Pascual Madoz comenta en 1845 en su conocido diccionario que:

Continúa Madoz relatando el trasiego de romeros en los primeros días de septiembre, ya que desde el occidente asturiano se dirigen a Covadonga para asistir el día 7 de septiembre a la Foguera en Covadonga, saliendo el día 8 de madrugada, después de la primera misa, y vuelven a sus pueblos por Lugás. Los que viven en la zona oriental, hacen el recorrido inverso: asisten a la Foguera en Lugás para luego retornar el día siguiente a la romería de Covadonga. Así se produce un trasiego de romeros cruzándose por los caminos y haciendo «sumamente divertidas dichas viajatas».
Ejemplo de devoción a la Santina de Lugás es la que tenía «María, la de Lugás», fe que le trasmitieron sus padres. Su oración a la Virgen de Lugás, ya conocida en toda la zona, es: «Virgina de Lugás, te rezo como me aprendió mi madre, Santina nuestra de Lugás ayuda a ser cristiana a tu María de Lugás».

Antiguos versos y cantares populares

Antiguos cantares de lugareños y peregrinos

Los peregrinos y lugareños han venido cantando, desde hace siglos, una serie de canciones sencillas para honrar a la Virgen de Lugás, la más tradicional fue recuperada desde el .

Cantu'l ramu
Al día siguiente de «les fogueres», precisamente el día de la Romería, las mozas y mozos llevaban a la iglesia los «ramos» en los que colocaban las ofrendas a la Virgen. El Cantu'l ramu era una larga retahíla de cuartetas diferentes con música muy similar para todas ellas. Este tipo de danzas y canciones son típicas de diferentes pueblos y villas asturianas, como es el caso de la «Danza prima» en Pola de Siero, a unos 30 km del santuario de Lugás, y que se baila durante «El Carmín», las fiestas mayores de esa villa.

Gozos proclamados, expresión del fervor popular, a la Virgen de Lugás

Los siguientes versos, llamados popularmente Gozos de la Virgen de Lugás, se decían o cantaban al finalizar su novena como colofón de alegría. Los peregrinos, que acudían de muchos pueblos cercanos, dormían en la «Casa les Novenes» ya desde el . Más adelante, al aumentar el número de ellos, se albergaban en la Hospedería de Peregrinos. También se alojaban en este mismo lugar los que acudían con motivo de las fiestas de «les fogueres».

Juegos, dichos, adivinanzas y encargos

La devoción y popularidad del santuario era tal que su nombre se había introducido en el lenguaje del pueblo. Entre los «juegos» estaba el de «¿Cambiamos?», porque los chiquillos del pueblo —y aún los más mayores— decían: Truécote, Santina de Lugás: lo muncho pa mín, lo pocu pa ti.

Los «dichos» son muchísimos, pero se expondrán solamente algunos como muestra: «Tar afrecíu a Llugares»; «venir de promesa a la Virxen de Llugás»; «cumplir promeses subían de rodilles desde la Capillina» o «entraben de rodilles per la Iglesia alantre llevando encendíes les veles de la ofierta». Una práctica usual era, además de cumplir con la promesa, «confesase y comulgar pa ganar les indulxencies del Xubileu la Virxen». La lista de dichos relacionados con la devoción a la Virgen de Lugás es interminable, y los anteriores pueden valer de ejemplo.

La «adivinanza» más conocida en los pueblos, no solo los cercanos sino en algunos bastante lejanos —para los medios de transporte de aquellas épocas—, era la siguiente:
 Yeren cinco hermanes:
 Una que vía la mar y la oía: (Yera la Virxen de Lugás).
 Otra que oía la mar, pero non la vía: (yera la Virxen de Foncaleyu).
 Otra que oía la mar, pero non la vía: (yera la de la Cueva).
 Otra que la oía y también la vía: (yera la del Portal).
 Otra que nin la vía nin la oía: (yera la de Cuadonga).

Referencias

Bibliografía

Lugas
Lugas
Santa Maria Lugas
Bienes de interés cultural de Asturias
Iglesias del concejo de Villaviciosa
Lugas
Lugas


Timpanogos Storytelling Institute | Story Matters: A TV Show About Storytelling!
Viewers can also stream episodes after they air through BYU TV's website (although it does require viewers to create a free account to watch) or the BYU TV app on streaming devices.
Donald Davis, who is featured in this program, also has an excellent book Telling Your Own Stories. The book includes a large list of story prompts as well guidance about story structure. Timpanogos Storytelling also worked with Donald in 2011 to produce a multi-part series called What's Your Story: A Donald Davis Workshop about finding and developing personal stories.
The National Storytelling Network is dedicated to helping develop storytellers. There are local chapters in many areas of the country.
The Timpanogos Storytelling Conference is also held each year. Attendees can learn from nationally-recognized storytellers in a variety of sessions.


Matthew's doing great; his feeds are up to 37 ml every 3 hours and he's having little to no residual and is stooling great. He's now up to 2973 g (just over 6 pounds 8 ounces), so full feeds for him are about 56 ml every 3 hours. They're increasing his feeds 8 ml every day (2 ml every other feeding), so he should get to full feeds by friday morning if there are no complications or if he doesn't have any residuals.
The CF sweat test is scheduled for this friday. I doubt he's old enough for the test to work, but the doctors wanted to give it a try.
Jenn's working with the occupational thearapist tomorrow to try and get Matthew to take a bottle. He's pretty good at sucking on a pacifier, but he still seems to get confused when he gets a mouthful of milk.
The eye surgery is scheduled for October 22nd. The doctor is planning on removing the lens, fixing the retina (if it's fixable), and adding silicone oil to try and push the retina back against the back wall of the eye.
Yeah!!! 6 lbs and 8 oz is like music to my ears. So glad Matthew's doing well! Please give him hugs and kisses from Aunt Beth (since I can't do it myself)!
WOW!!! I haven't had the opportunity to check on Little Matthew for a little while, so I was really excited to read all the good news! I will continue to keep you all in my thoughts and prayers!
I ask God to continue to bless you all and continue to heal Matthew so he can go home with you soon!!!
Praise God! We are so excited for you all!!!!!
It won't be too long before you can take that precious bundle home with you. Lord, first of all I give you praise for this miracle; I pray that you will continue to take control of Matthew's life, and I pray that you will continue to give Jason and Jennifer peace, joy, and strength to endure while he's in the hospital and as they handle him at home. We would love to see some current pictures!
WOW! Almost 7 lbs - "PRAISE THE LORD AND PASS THE JELLY" :-0) How simply fabulous. I can't wait to meet Matthew, I'm so excited.
Love you all the world - I will see you soon and bring Matthew his swing.....your gonna need it, they are a mother's best friend.
This page contains a single entry by Jason published on October 14, 2003 9:45 PM.
Tolerating his feeds was the previous entry in this blog.
On Full Feeds!!! is the next entry in this blog.


Following a very physical encounter the U-13 girls from Yellow Furze showed their great team spirit, courage and bravery to overcome a tough Kells side on Thursday evening.
After a few early misses Mallaidh Breen opened the scoring with a lovely point. With possession hard come by it was tough going for these girls but they showed they were up for a battle fighting tooth and nail for every ball.
Lauren Donnelly's effort at a long range point ended up in the back of the net and another goal by livewire Orla Finnegan after great work from midfielders Donnelly and excellent fielding from Caragh Monaghan took some pressure off the girls.
Another lovely point from young Anna Wogan kept the scoreboard ticking over in what was becoming a very difficult game to score in. Ms Wogan again found the back of the net but this was disallowed on consultation with the umpires for a heavy challenge on the Kells goalie. Gaeil Colmcille then hit a point before Mallaidh Breen closed out the half with her second point and this left Seneschalstown ahead by 2-03 to 0-01.
Kells threw all at Seneschalstown early in second half and scored two points without reply.
It took Seneschalstown ten minutes to open their account in the second half with a royal battle for possession leading to some very physical challenges being shipped on both teams.
Leading from the centre half back Aoibhe Monaghan who was assisted with great work alongside her from Zoe Kirwan and Lauren McCarthy defended like tigers. The inside line of Aine Nangle and Sadhbh McLarney was impenetrable with McLarney imperious in the tackle. The cool head and superb kicking from goalie Ava Jane Ryan gave this team great confidence and heart.
Lauren Donnelly fired over two more excellent points and substitutes Zoe Ryan and Niamh Traynor contributed to the excellent team effort. The inside forward line of Sinead McLarney and Ella Kilfeather were proving a handful for the Kells defence.
After weathering a huge effort from the Kells girls the Seneschalstown heroines were inspired and two excellent points soon followed from Orla Finnegan and Caragh Monaghan after great passing and teamwork involving Anna Wogan.
Battered and bruised as they left the field a magnificent display of heart, hunger, bravery and courage resulted in a fine victory for these group of girls who remain unbeaten after Round 3 in the Autumn League. Credit to the Kells girls who pushed them all the way.
Seneschalstown: Ava Jane Ryan, Sadhbh McLarney, Zoe Kirwan, Aoibhé Monaghan, Lauren McCarthy, Caragh Monaghan, Lauren Donnelly, Anna Wogan, Mallaidh Breen, Orla Finnegan, Ella Kilfeather, Sinead McLarney.


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Matt is a UK-based SEO consultant, working with clients of all shapes and sizes.
Guest contributor Matt Beswick shows how topical and evergreen content can both play a role in future-proofing your SEO strategy—but only if they're done right.
Crafting a quality SEO campaign that delivers results is like trying to build a house in an fault zone. By the time you've laid down the foundation, the ground underneath it may have shifted. Hitting a moving target isn't easy in any industry, and SEO is no exception.
The idea is to build a foundation that's sturdy enough to withstand a few shifts in the underlying search engine algorithms. Considering the fact that Google and its competitors tweak their algorithms every day, that's no small task.
Algorithms change for a reason
One thing that has to be understood implicitly is why algorithms are being re-jigged all the time.
For one thing, there's a lot of money in ecommerce, and spammers will do whatever they can to grab top ranks even if their content isn't Page One material. This runs contrary to the interests of Google and Bing, as delivering only the most relevant pages for any given query term is the best way to get advertisers to pay them for space. Hence, all those irritating algorithm change-ups.
Evergreen strategies vs flavour of the month
When you really break it down, there are essentially two types of content on any website: evergreen content and "good for the moment" content that takes advantage of the current SEO environment.
Evergreen content is, as the name implies, anything that'll provide deep value for years to readers. It attracts fewer page views per day but has a long shelf life.
Content that's good for the moment is anything topical that ensures an immediate but short-lived boost in traffic.
Both strategies have their place in the grand SEO scheme.
Using evergreen content practically
Some of the classic examples of evergreen content include article series, tutorials, how-to guides, videos and charts. Once it's published, you can be sure that anyone searching for knowledge on your topic will come across it as long as it's useful and relevant.
Using link bait to keep the natural links coming in is another evergreen strategy that can typically be counted on for a healthy traffic surge with some staying power. Priming the SEO pump with social media sites like Reddit and Twitter are guaranteed methods for making evergreen content work right out of the gate.
Adapting evergreen content to a change in the search engine algorithms of Google and Bing is tricky, since manually modifying content is a time-consuming process. It's certainly possible to repackage content to suit present needs, and you'll probably be forced to at some point. In addition, adapting your evergreen content to a new algorithm scenario will typically require that you fiddle with some meta-data and alter some or all of your linking strategy.
Regardless, quality evergreen content is far more resistant to the whims of the latest algorithm update.
Every year or so, there's a hot new strategy for outwitting the search engine algorithms that's in fashion at least temporarily.
Not long ago, many relied on old school directories, article spinning, and link farms for quick traffic. Nowadays, infographics are the latest trend that savvy SEOs and even amateurs are capitalising on.
Infographics can be generated in a hurry, although from personal experience tend to do better when you spend some real time on them, are powerful examples of link bait and can seriously pull in page views like no other. Youtube videos, provided they're tastefully restrained and to the point, are another solid spur-of-the-moment tactic.
Whatever the delivery method for your "right now" content, you'll need to take the current reigning algorithm factors into account when composing it. For instance, the Google Penguin update punishes content that relies on link-exchange schemes that were popular a few years ago.
Since that's no longer a viable option, you'll need to leverage social media to bolster new content with more organic links from everyday users and authority sites.
Keep in mind that Google will always strive to deliver the most relevant content to users and they're not used to failure, so any success you experience in gaming the system won't last for long.
The only constant is change
No SEO professional can possibly be expected to anticipate what the future holds for website optimisation. That's why it's wise to employ a mix of content types and stay flexible.
The divide between evergreen content and so-called silo pages isn't really as wide as many believe. Content that's topical now can have a second life as evergreen content if done right from the beginning.
Adapting to new algorithms isn't that big of a challenge if you stay on your toes and maintain a focus on quality content at all times.
Bing & Yahoo! (5)
Search algorithms (10)
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but still i am facing .
This exception generaly means that your GC is using too much CPU time.
Most of the time it means that the JVM size is too small for tha data/treatment to be processed.
And sometimes it's because of a faulty join in the query that generate too many match on the join key.
What kind of query are you using ?
And what is the configuration for the map and reduce JVM size ?
I am also facing similar issue and also increased heap size, but it could not help me.