Stuffed tomatoes and peppers with minced meat and pig’s skin – Ντοματες και πιπεριες γεμιστες με κιμα

Some time ago I wrote about a dish that is highly satisfying: peppers stuffed with rice.

Tomatoes and Peppers ready to be stuffed
Tomatoes and Peppers ready to be stuffed

Today I write about a variation of the dish: I added tomatoes to the peppers, and the filling is minced beef and diced pig’s skin.

Pig's Skin
Pig’s Skin

The magic ingredient of the filling is pig’s skin. It gives flavour and texture to the filling.

I fry it before I mix it with the meat.

Filling with minced beef, pig's skin and bulgur wheat
Filling with minced beef, pig’s skin and bulgur wheat

I add to the mix some bulgur wheat to absorb the moisture, dill weed, dry and fresh onions and parsely.

Ready to bake
Ready to bake

After stuffing the peppers and tomatoes, I bake in 220 C for 50 minutes.

Baked and ready to serve
Baked and ready to serve

This dish is never served hot. It needs to rest for at least one hour before serving.

Served
Served

Delicious homemade bread is a flavour and pleasure booster, so here it is.

Homemade bread
Homemade bread

And a nice improvised pudding to complete a good meal, and seal a good English-Greek get together.

Pudding
Improvised Pudding

Asta la vista Compañeros!

Η κανναβης εις τον Ελληνικον Πολιτισμον και την Κοινωνιαν – Cannabis in Greek Culture and Society

Προοιμιον

Το παρον πονημα ειναι εθνικου και ηθικοπλασματικου χαρακτηρα, οσονουπω δε και απελευθερωτικον καθοσον καταγραφει μεθοδικα επιστημονικα και παντελως ουδετερα την πορειαν της κανναβεως εις την ημετεραν πατριδαν, με εμφασιν εις την κοινωνιαν και τον πολιτισμον. Το μεγιστο ερωτημα περι της διασυσχετισεως και αλληλοπροσδιορισμου αναμεσα και ενδιαμεσα πατριδος πολιτισμου και κοινωνιας δεν θα το πραγματευθω. Ας περιμενετε αγαπητοι αναγνωστες δια το προσεχες μελλον. Ειναι ομως και μουσικοχορευτικον το πονημα, καθοσον η πολλη δουλεια σκοτωνει τον αφεντη. Εχει λοιπον και τραγουδια και χορο, χωρις ομως να χανει εις τιποτις τον επιστημονικον χαρακτηρα του.

apothikevsisporon

Η αυστηρωτατη ουδετεροτης και αντικειμενικοτης του πονηματος αφορα επισης και το μεγιστο ερωτημα του κατα ποσον το χασισακι ειναι εθιστικο ή οχι, κατα ποσον σκοτωνει ή οχι, κατα ποσον σε βαραει και σε ριχνει ή οχι. Ποιος ειμαι εγω σε τελευταια αναλυση να διαπραγματευθω τετοια τεραστια ερωτηματα; Οχι! Αγαπητη Αναγνωστρια, δεν θα το πραξω! Διοτι απλουστατα ομολογω οτι ειμαι αναρμοδιος. Και εις την αγαπητωτατην πατριδα μας οπου ειμεθα ο ενας πλεον αναρμοδιος του ετερου, θα αποφυγω το ολισθημα!

Οπως παντα σε τετοιες περιπτωσεις, οφειλω να προειδοποιησω τις ευπαθεις ομαδες να αποφυγουν την αναγνωση και την ακροαση καθοσον θα υποστουν βλαβην μεγαλην, ισως δε και ανηκεστον, με απροβλεπτους συνεπειας γενικως και ειδικως. Ενδεικτικως αναφερω και ζητω την αποφυγην και αποστροφην των: καθαρων, αγνων, φιλησυχων χιμπατζηδων, θρησκευτικων και ηθικοπλαστικων σωματειων, φιλοπροοδων οργανωσεων, αποστρατων αξιωματικων και πολιτικων, εξημερωμενων ταρανδων, αποτριχωμενων λεπιδοπτερων, φιλελευθερων διανοουμενων, και αλλων ων ουκ εστι αριθμος. Πρωτιστως ομως, ολων οσων δεν εκαπνισαν ουδεποπωτε εις τον βιον τους ενα τσιγαρακι.

ΚΑΝΑΒΟΥΡΙΑ ΦΥΤΟ

Ασμα: ΒΑΛΤΕ ΜΟΥ ΔΥΟ ΚΑΝΑΒΟΥΡΙΕΣ

Στιχοι και Μουσικη: Μιχαλη Δασκαλακη

Οταν πεθάνω θά(φ)ψτε με
σε μία γωνιά μονάχο
Και δίπλα το μπουζούκι μου – αμάν, αμάν
παρηγοριά μου να ‘χω.

Κανείς δε θέλω για να ‘ρθει – βρ’αμάν, αμάν
καντήλι να μ’ανάψει
ούτε κι αυτή που αγαπώ – αμάν, αμάν
για μένανε να κλάψει.

Βάλτε μου δύο καναβουριές – αμάν, αμάν
τον ίσχιο τους να ρίχνουν,
όταν φυσάει ο άνεμος – αμάν, αμάν
γλυκά να με δροσίζουν.

Βάλτε μου δύο καναβουριές
να κάνουν καναβούρια,
για να ‘ρχονται οι φίλοι μας – κι οι γκόμενες
να γίνονται μαστούρια.

Ειναι βαρειες οι καταβολες

(Απο εδω προεκυψε και η αλλαλαχη “ειναι βαρεια η φουντα του τσολια”).

Ενα από τα αρχαιότερα ιστορικά ευρήµατα, ένα αποµεινάρι της  ανθρώπινης υφαντουργίας,  είναι ένα κοµµάτι ύφασµα (καµβάς) φτιαγµένο από κάνναβη το οποίο χρονολογείται  -περίπου- από το 8000 π.Χ. Το παλαιότερο διασωθέν τεµάχιο από χαρτί κατασκευασµένο  πριν από 2.000 χρόνια στην  Κίνα φτιάχτηκε και αυτό από κάνναβη. Ακόµα παλαιότερα, τουλάχιστον 2.500 χρόνια πριν, οι τεχνίτες των Φαραώ χρησιµοποιούσαν την κάνναβη ως δοµικό συστατικό ανάµεσα στα άλλα υλικά για το χτίσιµο των πυραµίδων. (1)

tourqie

Τα παλαιότερα αρχαιολογικά ευρήματα χρήσης της κάνναβης τα βρίσκουμε στην Ταϊβάν και στην Κίνα πριν από περίπου 6 χιλιάδες χρόνια, ενώ σπόροι κάνναβης βρέθηκαν και στη σημερινή Ρουμανία σε θρακικό τάφο που χρονολογείται στα 3000 π.Χ. Απ’ ό,τι φαίνεται, το «μαγικό φυτό» συνοδεύει τις μεταναστεύσεις των ινδοευρωπαϊκών φυλών και πιθανώς έφτασε στην Ευρώπη μέσω των Σκυθών. Ο Ηρόδοτος μας διηγείται ότι οι Σκύθες έριχναν σπόρους κάνναβης σε χάλκινα τρίποδα, και οι μεθυστικοί ατμοί που δημιουργούνταν συνόδευαν τις θρησκευτικές τελετουργίες και τις γιορτές τους, γεγονός που επιβεβαιώθηκε το 1940 από αρχαιολογικά ευρήματα σε σκυθικούς τάφους στα σύνορα μεταξύ Μογγολίας και Σιβηρίας. (6)

Η κάνναβη είναι ένα φυτό με τρία υποείδη: Cannabis indica (ινδική), Cannabis sativa (ήμερη, κλωστική) και Cannabis ruderalis, η άγρια εξαδέλφη τους που φυτρώνει εκεί που δεν τη σπέρνουν. Και ενώ στο εξωτερικό ο διαχωρισμός μεταξύ ινδικής και κλωστικής είναι σαφέστερος, αφού η πρώτη λέγεται Cannabis και η δεύτερη Hemp, στην Ελλάδα, αυτή η συνωνυμία έχει προκαλέσει στην κλωστική βιομηχανική πολλά… τραβήγματα με τον νόμο. Και ενώ η ίδια περιέχει σε πολύ μικρό ποσοστό τη δραστική ουσία του χασίς (0,2%, που είναι το επιτρεπτό όριο σύμφωνα με την ΕΕ), σε αντίθεση με τις ποικιλίες της ινδικής που την περιέχουν από 7% ως 25%, η σύγχυση παραμένει μεγάλη.(2)

Γαμησι, Χασισι, Επιστροφη στη Φυση
Γαμησι, Χασισι, Επιστροφη στη Φυση

Οι λεξεις (5)

Χασις: η ινδικη κανναβη. [Το ρητινώδες εκχύλισµα που εκκρίνεται από τους βλαστούς του ονοµάζεται «χασίς» και χρησιµοποιείται για κάπνισµα προκειµένου να αυξήσει την ενεργητικότητα και την ευχάριστη διάθεση. (1)]

Χασικλης: προσωπο που κανει συστηματικα χρηση χασις.

Μαυρη, Μαυρο: το χασις.

Φουντα: το χασις, ως ναρκωτικη ουσια.

Τεκες: καταγωγιο οπου γινεται χρηση ναρκωτικων, χασικληδικο. Η λεξη ειναι τουρκικης προελευσης (tekke), και σημαινει και μοναστηρι, οπου ασκουνται δερβισηδες.

Κανναβουρι: ο καρπος του φυτου της κανναβης, ο οποιος χρησιμοποιειται ως τροφη για ωδικα πτηνα.

kavos-atyxhma-naxos--660

Κανναβοσχ(κ)οινο: το σχοινι που ειναι κατασκευασμενο απο ινες κανναβης.

Κανναβατσο: το χοντρο υφασμα απο λιναρι, βαμβακι και κανναβη, που χρησιμοποιειται για την κατασκευη πανιων πλοιου, σακιων. κλπ.

Εκτός από τα πανιά (από εκεί βγαίνει και ο όρος κανναβάτσο), τα σχοινιά και τους σπάγκους, η κάνναβη είναι ιδανική και για την παραγωγή χαρτιού (με τετραπλάσιες ποσότητες ινών ανά στρέμμα απ’ ό,τι τα δέντρα και πολύ πιο φιλικά στο περιβάλλον από την τοξική κοπή), για την παραγωγή μονωτικών υλικών (για παράδειγμα, το καννάβι που χρησιμοποιεί ο υδραυλικός), όπως και για την παραγωγή ελαίων για σαπούνια, βερνίκια και καλλυντικά. Δεν είναι τυχαίο ότι τα υποαλλεργικά πάνινα παπούτσια και ρούχα κατασκευάζονται από ίνες κάνναβης, ενώ τα αμαξώματα των αυτοκινήτων αντικαθιστούν σταδιακά τις ίνες φάιμπεργκλας με εκείνες της κάνναβης. Αλλά και ως καύσιμο, η μεθανόλη και διάφορα άλλα είδη έχουν την ίδια καταγωγή. Θέλοντας να επιβραβεύσει όλες αυτές τις μαγικές επιδόσεις του παρεξηγημένου φυτού, η ΕΕ εξέδωσε ήδη από το 1990 την οδηγία 1308/1990, επιδοτώντας την καλλιέργεια κάνναβης. (2)

Η βιομηχανια: Καναβουργειο Εδεσσης

assets_LARGE_t_420_8823743

Το κανναβουργείο της Εδεσσας κατασκευαστηκε το 1908 από τον Αυστριακό μηχανικό Λεοπόλδο Αϊγλ και λειτούργησε από το 1913 μέχρι το 1967. Ηταν το πρώτο εργοστάσιο στην Ελλάδα που έφτιαχνε σπάγκους και καραβόσκοινα από ινδική κάνναβη, με ημερήσια παραγωγή που έφτανε τα 1.200 κιλά. Η διαδικασία κατεργασίας της πρώτης ύλης ήταν εξαιρετικά δύσκολη αλλά και μεθοδική. Στους χώρους που άλλοτε έσφυζε από ζωή σήμερα στέκουν βουβά τα εξαρτήματα, οι μηχανές, ο υδροστρόβιλος, οι άξονες μετάδοσης, η γεννήτρια, οι τροχοί και άλλα.

Τα φορεία που έχουν απομείνει στον χώρο του κανναβουργείου θυμίζουν τις δύσκολες εποχές με τα πολλά ατυχήματα από τους δεκάδες ιμάντες που χρησιμοποιούνταν για τη μετάδοση της κίνησης. Στο μπροστινό μέρος του κτιρίου λειτουργεί το καλαίσθητο εστιατόριο «Κανναβουργείο». Από τον χώρο του εστιατορίου μπορείτε να δείτε τους χώρους επεξεργασίας και παραγωγής σκοινιών, καθώς και τις παλιές μηχανές.

tekes

Ασμα: ΟΙ ΚΑΠΝΟΥΛΟΥΔΕΣ

Στιχοι και Μουσικη: Μπαγιαντερας

(Το καταπληκτικον του ασματος αρχιζει απο τον τιτλο του. Ειναι στον πληθυντικο, ενω η πρωταγωνιστρια ειναι μια, η ομορφη καπνουλου. Πληρης συγχυση, και πληρης διαυγεια! Χαιρε Αρχαιο Ελληνικο Πνευμα!)

Βρε καπνουλού μου έμορφη σ’ αρέσει το ντουμάνι
κι εμένανε με παρατάς ρέστονε και χαρμάνη.

Όταν σχολάσεις γίνεσαι μια κούκλα πρώτη φίνα
και την πουλεύεις πονηρά στη Βούλα στη Ραφήνα.

Τους μάγκες πάντα προτιμάς κι όλους τους παραλήδες
μα ζούλα πάντα κυνηγάς τους έμορφους νταήδες.

Και στο φινάλε πας γλεντάς με μάγκες στους τεκέδες
γιατί σ’ αρέσει ο μπαγλαμάς μπουζούκια κι αργιλέδες

Παραβατικοτητα: Ακομη και ο Αγιος Κολαζεται

Με χασίσι μυρωδάτο φορτωμένος υπάλληλος της Εισαγγελίας Αθηνών , σε όχημα του υπουργείου ΔΙΚΑΙΟΣΥΝΗΣ!!!

Xas 1
«Αστυνομικοί του Τμήματος Δίωξης Ναρκωτικών Ηγουμενίτσας, σήμερα (23.02.2013) το πρωί στη Νέα Σελεύκεια Θεσπρωτίας, συνέλαβαν 48χρονο ημεδαπό, υπάλληλο του Υπουργείου Δικαιοσύνης, ο οποίος κατελήφθη να μεταφέρει με κρατικό αυτοκίνητο μεγάλη ποσότητα κάνναβης.
Πιο αναλυτικά, στο πλαίσιο οργανωμένης αστυνομικής επιχείρησης, εντοπίστηκε και ακινητοποιήθηκε το κρατικό αυτοκίνητο, το οποίο οδηγούσε ο δράστης και στον έλεγχο, που διενεργήθηκε στο εσωτερικό του, βρέθηκαν (137) συσκευασίες – δέματα κάνναβης, συνολικού βάρους (149.016) γραμμαρίων, τα οποία και κατασχέθηκαν.
  • Σε βάρος του συλληφθέντα σχηματίστηκε δικογραφία κακουργηματικού χαρακτήρα για τα αδικήματα της μεταφοράς και εμπορίας ναρκωτικών ουσιών.
Χαρακτηριστικό της μεθοδολογίας, του σχεδιασμού και του τρόπου δράσης του συλληφθέντα, αποτελεί το γεγονός ότι για την μεταφορά των ναρκωτικών χρησιμοποίησε υπηρεσιακό αυτοκίνητο,του Υπουργείου Δικαιοσύνης (φέρει εξωτερικά τις χαρακτηριστικές ενδείξεις οχήματος δημόσιας υπηρεσίας), με προφανή σκοπό να αποτρέψει ή/και να αποπροσανατολίσει τους ελέγχους των διωκτικών Αρχών.
Για τους ιδίους λόγους είχε αλλοιώσει την ημερομηνία και τα στοιχεία ταυτότητας στα συνοδευτικά έγγραφα του οχήματος(Διαταγή πορείας και Δελτίο κίνησης), τα οποία κατασχέθηκαν επίσης. Όπως προέκυψε από την αστυνομική έρευνα, τελικός προορισμός του φορτιού των ναρκωτικών, ήταν η Αθήνα…”
4670348

Ασμα: ΤΟ Β(Π)ΑΠΟΡΙ ΑΠ’ΤΗΝ ΠΕΡΣΙΑ

Στις 7 Ιανουαριου 1977 οι Αρχες στα Ισθμια της Κορινθιας απο καρφωτη πιανουν το μοτορσιπ “Γκλορια” με 11 τοννους χασισι. Ο Τσιτσανης γραφει λιγο μετα το θρυλικο παραβατικο τραγουδι που χαλαει κοσμο ακομη και σημερα  (περισσοτερα στον Γκρεκο).

bapori_persia

Το βαπόρι απ’ την Περσία
πιάστηκε στην Κορινθία
Τόννοι έντεκα γεμάτο
με χασίσι μυρωδάτο

Τώρα κλαίν’ όλα τ’ αλάνια
που θα μείνουνε χαρμάνια

Βρε κουρνάζε μου τελώνη
τη ζημιά ποιος τη πληρώνει
Και σ’ αυτή την ιστορία
μπήκαν τα λιμεναρχεία

Τώρα κλαίν’ όλα τ’ αλάνια
που θα μείνουνε χαρμάνια

Ήταν προμελετημένοι
καρφωτοί και λαδωμένοι
Δυο μεμέτια, τα καημένα,
μεσ’ στο κόλπο ήταν μπλεγμένα

Τώρα κλαίν’ όλα τ’ αλάνια
που θα μείνουνε χαρμάνια

Η εκτελεση που ακολουθει ειναι με τον αειμνηστο Τσιτσανη. Που λεει το βαπορι παπορι. Ως εδει. Αλα τις!!!!

Ο τεκες και το μαυρο (7, σ. 110-111)

Ο Πειραιας τοτε ητανε γεματος τεκεδες. Ο πρωτος τεκες, εχω ακουσει, ητανε του Ζουανου του Καλοκαιρινου, τα λουτρα…

Μες στου Ζουανου την αυλη

σκοτωσαν ενα χασικλη

markos_vamvakaris_19671

Ολοι οι τεκεδες ητανε ιδιοι. Ιδιοι κι απαραλλαχτοι. Μια καμαρα ητανε τεκες. Ενα σπιτακι ητανε τεκες. Ενα αλλο παραγκακι… Μολις φουμαρουνε οι χασικληδες, δεν τους ενδιαφερει αν ζουνε ή αν πεθαινουνε. Ειναι ησυχοτατοι, δεν πειραζουν ανθρωπο. Μονον να φαν θελουν οταν πεινασουν και τιποτε παραπανω, και να κοινηθουνε να βλεπουνε ονειρα. Δεν τους νοιαζει αν ο τεκες ειναι ενα παληοσπιτο.   Το ιδιο ητανε και του Μιχαλου, στα Χιωτικα.

Χαρμανης ειμαι απ’ το πρωι

και παω να φουμαρω

μες στον τεκε του Μιχαλου

ποχει το φινο μαυρο.

magkali

Κατω, αλλου ειχε χωμα, αλλου σανιδια αλλα περισσοτερο χωμα, γιατι καπου επεταζαμε και κανενα ζαφειρι. Ειχαμε δε εκει, μπροστα εκει στο λουλα, το μαγκαλι με τις φωτιες. Απο διαφορα καρβουνακια, απο καρυδια, απο αμυγδαλα, απο θυμαρια του βουνου. Ειχαμε και εναν ντενεκε, το οποιο εφτουσαμε ολοι μεσα. Την ωρα που επινες σ’ επιανε ο βηχας, ξερω γω τι, και για να βγαλεις, να καθαρισουν, ηταν μπροστα εκει ο ντενεκες με το νερο.

Ασμα: ΟΤΑΝ ΚΑΠΝΙΖΕΙ Ο ΛΟΥΛΑΣ

Στιχοι και Μουσικη: Γιωργος Μητσακης

Όταν καπνίζει ο λουλάς
εσύ δεν πρέπει να μιλάς.
Κοίταξε τριγύρω οι μάγκες
κάνουν όλοι, κάνουν τουμπεκί.

Άκου που παίζει ο μπαγλαμάς
και πάτα αργιλέ για μας.
Σα θα γίνουμε μαστούρια,
θα ‘μαστε πολύ προσεχτικοί.

Κανένα μάτι μη μας δει
και μας μπλοκάρουν δηλαδή.
Να μη βρούνε καμιάν αιτία
και μας πάνε όλους φυλακή.

Οι νομοι 

Σύμφωνα με το άρθρο 5 του ν.1681/1919 περί αλητείας και επαιτείας, τιμωρούνταν {όστις, άεργος ων ή αποδεδειγμένως διάγων άτακτον βίον, επιδίδεται καθ’ έξιν εις χασισοποτίαν, φοιτών προς τούτο εις τοιούτου είδους καταγώγια ή άλλα ενδιαιτήματα με ποινή φυλάκισης ενός έτους και σε περίπτωση υποτροπής μέχρι δύο έτη. Κατά παλαιότερη, προσφιλή τακτική του νομοθέτη, τιμωρείται εδώ όχι μια συγκεκριμένη πράξη, αλλά ένας αφηρημένος αντικοινωνικός τύπος ατόμου. (8)

alefa03

Ακολούθησαν ο ν. 2107/1920 «περί απαγορεύσεως της καλλιέργειας, της εμπορίας και της καταναλώσεως ινδικής καννάβεως», ο νομοτεχνικά πληρέστερος ως προς την τυποποίηση των πράξεων διακίνησης και χρήσης ναρκωτικών ν.5539/1932 «περί μονοπωλίου των ναρκωτικών φαρμάκων και του ελέγχου αυτών», ο οποίος περιλάμβανε για πρώτη φορά και πίνακα των απαγορευμένων ναρκωτικών ουσιών, ο ν. 6025/1934, ο α.ν. 2430/1940 και το ν.δ. 3084/1954, «περί τιμωρίας των παραβατών ναρκωτικών και μεταχειρίσεως των τοξικομανών», όπου πλέον αυστηροποιούνται σημαντικά οι προβλεπόμενες ποινές για πράξεις διακίνησης (κάθειρξη μέχρι 10 χρόνια και χρηματική ποινή μέχρι 10.000.000 δραχμές). (9)

Στο Αρθρο 1, παραγραφος 3 του νομου 4139/2013 οριζεται οτι:

“Στις παραπάνω ουσίες (ναρκωτικα) δεν περιλαμβάνονται τα ακατέργαστα συγκομιζόμενα προϊόντα που προκύπτουν από την καλλιέργεια ποικιλιών κάνναβης του είδους Cannabis Sativa L χαμηλής περιεκτικότητας σε τετρα− ϋδροκανναβινόλη (THC) και συγκεκριμένα μέχρι 0,2%, σύμφωνα με τις εκάστοτε ισχύουσες διατάξεις της νομοθεσίας της Ευρωπαϊκής Ένωσης. Με κοινή απόφαση των Υπουργών Αγροτικής Ανάπτυξης και Τροφίμων και Δικαιοσύνης, Διαφάνειας και Ανθρωπίνων Δικαιωμάτων ορίζονται οι όροι και οι προϋποθέσεις καλλιέργειας των ποικιλιών κάνναβης του είδους Cannabis Sativa L, οι έλεγχοι τήρησης των όρων και προϋποθέσεων και κάθε σχετικό θέμα.

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Τα κανναβοσκοινα

Οταν οι Πειραιωτες μαγκες χαρμανιαζανε, βγαινανε τσαρκα στο λιμανι για να βρουνε παλιους καβους. Μολις βρησκανε ενα, τον κοβανε ψιλα κομματια και τα τριβανε να φτιαξουνε χαρμανι. Το στεγνωνανε με προχειρο τροπο, και μετα το φουμαρανε. Αυτο μου το αφηγηθηκε φιλος Πειραιωτης που τα ακουγε στις γειτονιες οταν ητανε ητανε παιδι.

1959

Ασχετος Επιλογος

Κλεινω αυτο το σεμνο αφιερωμα με ενα δημοτικο τραγουδι που βρηκα ολως τυχαιως (3). 

Επέθανε ο Γιάνναρος και έκανε διαθήκη,
Να μην τον θάψουν σ` εκκλησιά, ούτε σε μοναστήρι,
Να πάνε να τον χώσουνε σ` ένα σταυροδρόμι,
ν` αφήσουνε τον πούτσο του τρεις πιθαμές απάνω,
για να περνάει ο βασιλιάς να δένει τ` άλογό του.
Τ` ακούσαν τρεις καλόγριες και πα` να τον εβρούνε.
Η μια παίρνει το κερί κι η άλλη το λιβάνι
κι η τρίτη η χοντρόκωλη, πάει να κάτσει απάνω.

troumpa_3

Η Επιστημη δεν εχει ορια, δεν εχει τερμα, δεν εχει πατο, δεν εχει ταβανι

Στη σελιδα “Πλινθοι και Κεραμοι“μπορεις αγαπητη αναγνωστρια να βρεις και αλλα αρθρα με επιστημονικο βαθος και συγκλονιστικη πρωτοτυπια.

Πηγες

1. Η Διαχρονικη Διαδρομη τηε Κανναβης. Ελευθερος Τυπος.

2. Η ελληνική πανσέληνος της κάνναβης. Το ΒΗΜΑ.

3. prkls

4. Τιποτα

5. Γ. Μπαμπινιωτη. Λεξικο της Νεας Ελληνικης Γλωσσας.

6. Η μαριχουανα του γιατρου μας ειναι η καλυτερη. Εφημεριδα των Συντακτων.

7. Μαρκος Βαμβακαρης. Αυτοβιογραφια. Εκδοσεις Παπαζηση. Αθηνα 1978.

8. Η πορεια της κανναβης και της απαγορευσης της. 

9. Ομιλία στο συνέδριο των ΥΠΕΞ – ΥΠ.ΥΓΕΙΑΣ – ΥΠ.ΔΙΚΑΙΟΣΥΝΗΣ (06/-3/2003)

Lord Byron’s “Giaour – A Fragment of a Turkish Tale”

Introduction

“Greece was the mostly sought Eastern country by travelers during the 19th century.” (1)

Lord Byron visited Greece for the first time in his 1809-1810 travels to the South of Europe.

While in Greece, he heard a story about a woman who experienced terrible death by been thrown into the sea alive inside a bag.

This story gave Lord Byron the material for his poem “The Giaour”.

The “Giaour” is Byron’s only narrative poem, and the first of four Turkish tales that he wrote.

It is also a poem that in a way contributed the birth of the “vampire”, albeit a vampire different from the one we are accustomed in the 21st century.

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George Gordon Noel, sixth Baron Byron

George Gordon Noel, sixth Baron Byron, was born on 22 January 1788 in London.

In July 1823, Byron left Italy to join the Greek insurgents who were fighting a war of independence against the Ottoman Empire.

On 19 April 1824 he died from fever at Messolonghi, in modern day Greece.

His death was mourned throughout Britain. His body was brought back to England and buried at his ancestral home in Nottinghamshire.

Byron had enormous influence on the romantic movement and European poetry. One of the poets greatly influenced by Byron was Goethe.

He is also the only English  poet Bertrand Russell included in his History of Western Philosophy.

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Orientalism

“Romantic Orientalism, then, became part of the larger movement of British Romanticism, which was further enthused by Napoleon‟s invasion of Egypt (1798–1799) and Greece‟s War of Independence (1821–1828). To Romantic travelers, scholars, artists and men of letters the Orient constituted a distant world which conveniently suited their search for the exotic and sublime experiences.” (1)

In his book “Orientalism”, Edward Said observes: “Popular Orientalism during the late eighteenth century and the early nineteenth attained a vogue of considerable intensity”

Apparently Byron was not driven to orientalism by accident. In “Interrogating Orientalism”, the editors observe (3):

In late August 1813, Byron had advised his friend Tom Moore to read Antoine Laurent Castellan’s Moeurs, usages, costumes des Othomans (1812) for poetic materials:

“Stick to the East; the oracle, Stael, told me it was the only poetic policy. The North, South, and West, have all been exhausted; but from the East, we have nothing but Southey’s unsaleables. . . . The little I have done in that way is merely a “voice in the wilderness” for you; and, if it has had any success, that also will prove that the public are orientalizing, and pave the path for you. (Letters and Journals 3:101)”

adding that “the public are orientalizing.”

Following his own advice, he dashed off and published three more “Turkish tales” before the next year was out — The Bride of Abydos (published in December 1813 and reissued in ten further editions of 1814  and 1815), The Corsair (published in February 1814 — selling ten thousand copies on the first day — and reissued in eight or more editions through 1815), and Lara (published in August 1814, with five or six subsequent editions in the next couple of years). (6)

Eugene Delacroix: Combat of the Giaour and the Pasha
Eugene Delacroix: Combat of the Giaour and the Pasha, 1827, The Art Institute of Chicago

The Giaour

The word “giaour” means foreigner or infidel, and in this Moslem context Byron’s hero is a Christian outsider, in a situation enabling contrasts of ideas about love, sex, death, and the hereafter.

The Giaour was started in London between September 1812 and March 1813, first published by John Murray in late March 1813, and finally completed December 1813, after having, in Byron’s words, “lengthened its rattles” (BLJ III 100) from 407 lines in the first draft to 1334 lines in the twelfth edition. (4)

According to one of Byron’s letters, the story in the poem was a tale he’d overheard “by accident recited by one of the coffee-house story tellers who abound in the Levant,” and he blamed the fragmented style on a “failure of memory,”

The narrative is built around a doomed love triangle, composed of the Giaour, a nameless Christian, Hassan and one of his wives, Leila. Leila « breaks her bower, » goes out into the world of men and taking the Giaour as a lover, lashes out against the values that structure her society. Hassan attemps to reestablish the balance by confining her to a space even smaller than the harem : a canvas bag which is then summarily thrown over the side of a boat unbeknownst to its crew and the reader, to whom this episode is recounted through the eyes of a fisherman. The Giaour takes his revenge, ambushing Hassan in a mountain pass, then, crushed by his part in Leila’s death, spends the rest of his days spurning the solace offered him by a man of the cloth, representative of orthodoxy. (7)

Leila

The heroine of the poem, Leila is a silent and passive heroine.

Another Leila in Byron’s Don Juan has a similar profile (8)

Delacroix (5)

Following a visit to England in 1825, Eugène Delacroix, the leading Romantic painter in France, based this painting on the poem The Giaour (pronounced jor) written by English poet Lord Byron in 1813. The subject—passions avenged on the faraway Greek battlefield—is perfectly suited to the Romantic vision of exotic locales and unleashed emotion.

In the painting, a Venetian (my note: according to others, Giaour was a Christian without more specifics, but it does not really matter, does it?) known as the Giaour—a Turkish term for infidel—fights the Muslim Hassan to avenge the death of his lover, who was killed by Hassan after fleeing his harem. The stark setting and aggressive movements place the focus of the painting on these two main characters. Weapons poised, the enemies face off in mirrored poses: the Giaour in swirling white with bloodshot eyes, Hassan facing his opponent with his weapon raised. The dynamic motion and emotion of the composition, which looks back to the Baroque style of Peter Paul Rubens, is further heightened by the artist’s use of high-keyed colors and bold and loose brushwork. Delacroix’s handling of pigments was influenced by a mid-19th-century color theory that stated that a spot of color will appear to be surrounded by a faint ring of its complement. In Delacroix’s painting, the adaptation of this effect is seen in the artist’s use of complementary colors, rather than the addition of black pigment, to create shadows.

The Combat of the Giaour and Hassan was included in an exhibition at the Parisian Galerie Lebrun to benefit the Greeks and their war of liberation from the Ottoman Turks (1821–1832). This political cause inspired numerous Romantic artists, writers, and musicians, and was the subject of one of Delacroix’s best-known paintings, The Massacre at Chios. The latter painting was based on an actual incident in the Greek wars of independence, unlike the Art Institute’s painting, which is derived from a work of fiction. Both are examples of Orientalism in Romantic painting, in which depictions of the Middle East and North Africa emphasize the exotic appeal of the lands and their people.

Gericault: Portrait of Lord Byron
Gericault: Portrait of Lord Byron

Vampires

As an article in BBC informs us,

“Byron was one of the first authors to write about vampires and his image even inspired the look of the monsters.” (2) The following is an extensive quote from the article:

Dr Matt Green is a lecturer at the University of Nottingham. The Gothic expert said: “The vampire first comes into English literature around the end of the eighteenth century.

“One of the first poems the vampire features in is by Lord Byron. It’s a poem called The Giaour (a Turkish word for an infidel or nonbeliever).

“At one point the giaour is cursed by his enemy to become a vampire and to prey and feed on his descendents.”

The poem goes: “Bur first, on earth as Vampire sent, Thy corse shall from its tomb be rent: Then ghastly haunt thy native place, And suck the blood of all thy race.”

“At this stage the vampire in Byron’s poem and in English literature is more a zombie figure. He comes out of the ground and he eats those around him and then goes back into the ground. He can’t wander far from his place of birth and his family.”

That perception was about to change and Byron would be central to it.

The university lecturer said: “It’s not until a couple of years later that the vampire becomes this cosmopolitan, seductive figure. That has to do with Byron as well.”

Eugene Delacroix, Combat Between Giaour and Pasha, 1827, Art Institute of Chicago
Eugene Delacroix, Combat Between Giaour and Pasha, 1827, The Art Institute of Chicago

Excerpts of the poem

The maid for whom his melody,
His thousand songs are heard on high,
Blooms blushing to her lover’s tale:
His queen, the garden queen, his Rose,
Unbent by winds, unchilled by snows,
Far from winters of the west,
By every breeze and season blest,
Returns the sweets by Nature given
In soft incense back to Heaven;
And gratefu yields that smiling sky
Her fairest hue and fragrant sigh.

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Eugene Delacroix, The combat of the Giaour with the Pasha, 1835, Petit Palais, Paris, France

The foam that streaks the courser’s side
Seems gathered from the ocean-tide:
Though weary waves are sunk to rest,
There’s none within his rider’s breast;
And though tomorrow’s tempest lower,
‘Tis calmer than thy heart, young Giaour!
I know thee not, I loathe thy race,
But in thy lineaments I trace
What time shall strengthen, not efface:
Though young and pale, that sallow front
Is scathed by fiery passion’s brunt;
Though bent on earth thine evil eye,
As meteor-like thou glidest by,
Right well I view thee and deem thee one
Whom Othman’s sons should slay or shun.

Eugene Delacroix, The Giaour over the dead Pasha
Eugene Delacroix, The Giaour over the dead Pasha

Not thus was Hassan wont to fly
When Leila dwelt in his Serai.
Doth Leila there no longer dwell?
That tale can only Hassan tell:
Strange rumours in our city say
Upon that eve she fled away
When Rhamazan’s last sun was set,
And flashing from each minaret
Millions of lamps proclaimed the feast
Of Bairam through the boundless East.
‘Twas then she went as to the bath,
Which Hassan vainly searched in wrath;
For she was flown her master’s rage
In likeness of a Georgian page,
And far beyond the Moslem’s power
Had wronged him with the faithless Giaour.
Somewhat of this had Hassan deemed;
But still so fond, so fair she seemed,
Too well he trusted to the slave
Whose treachery deserved a grave:
And on that eve had gone to mosque,
And thence to feast in his kiosk.

Alexandre-Marie Colin, The Giaour
Alexandre-Marie Colin, The Giaour

‘Yes, Leila sleeps beneath the wave,
But his shall be a redder grave;
Her spirit pointed well the steel
Which taught that felon heart to feel.
He called the Prophet, but his power
Was vain against the vengeful Giaour:
He called on Allah – but the word.
Arose unheeded or unheard.
Thou Paynim fool! could Leila’s prayer
Be passed, and thine accorded there?
I watched my time, I leagued with these,
The traitor in his turn to seize;
My wrath is wreaked, the deed is done,
And now I go – but go alone.’

Eugene Delacroix: Combat of the Giaour and the Pasha (detail)
Eugene Delacroix: Combat of the Giaour and the Pasha (detail)

Yet died he by a stranger’s hand,
And stranger in his native land;
Yet died he as in arms he stood,
And unavenged, at least in blood.
But him the maids of Paradise
Impatient to their halls invite,
And the dark Heaven of Houris’ eyes
On him shall glance for ever bright;
They come – their kerchiefs green they wave,
And welcome with a kiss the brave!
Who falls in battle ‘gainst a Giaour
Is worthiest an immortal bower.

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”Tis twice three years at summer tide
Since first among our freres he came;
And here it soothes him to abide
For some dark deed he will not name.
But never at our vesper prayer,
Nor e’er before confession chair
Kneels he, nor recks he when arise
Incense or anthem to the skies,
But broods within his cell alone,
His faith and race alike unknown.
The sea from Paynim land he crost,
And here ascended from the coast;
Yet seems he not of Othman race,
But only Christian in his face:
I’d judge him some stray renegade,
Repentant of the change he made,
Save that he shuns our holy shrine,
Nor tastes the sacred bread and wine.

Eugene Delacroix-939428

To love the softest hearts are prone,
But such can ne’er be all his own;
Too timid in his woes to share,
Too meek to meet, or brave despair;
And sterner hearts alone may feel
The wound that time can never heal.
The rugged metal of the mine,
Must burn before its surface shine,
But plunged within the furnace-flame,
It bends and melts – though still the same;
Then tempered to thy want, or will,
‘Twill serve thee to defend or kill;
A breast-plate for thine hour of need,
Or blade to bid thy foeman bleed;
But if a dagger’s form it bear,
Let those who shape its edge, beware!
Thus passion’s fire, and woman’s art,
Can turn and tame the sterner heart;
From these its form and tone are ta’en,
And what they make it, must remain,
But break – before it bend again.

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My spirit shrunk not to sustain
The searching throes of ceaseless pain;
Nor sought the self-accorded grave
Of ancient fool and modern knave:
Yet death I have not feared to meet;
And the field it had been sweet,
Had danger wooed me on to move
The slave of glory, not of love.
I’ve braved it – not for honour’s boast;
I smile at laurels won or lost;
To such let others carve their way,
For high renown, or hireling pay:
But place again before my eyes
Aught that I deem a worthy prize
The maid I love, the man I hate,
And I will hunt the steps of fate,
To save or slay, as these require,
Through rending steel, and rolling fire:
Nor needest thou doubt this speech from one
Who would but do ~ what he hath done.
Death is but what the haughty brave,
The weak must bear, the wretch must crave;
Then let life go to him who gave:
I have not quailed to danger’s brow
When high and happy – need I now?

DELACROIX_Eugene_Woman_with_a_Parrot_1827

‘I loved her, Friar! nay, adored –
But these are words that all can use –
I proved it more in deed than word;
There’s blood upon that dinted sword,
A stain its steel can never lose:
‘Twas shed for her, who died for me,
It warmed the heart of one abhorred:
Nay, start not – no – nor bend thy knee,
Nor midst my sins such act record;
Thou wilt absolve me from the deed,
For he was hostile to thy creed!
The very name of Nazarene
Was wormwood to his Paynim spleen.
Ungrateful fool! since but for brands
Well wielded in some hardy hands,
And wounds by Galileans given –
The surest pass to Turkish heaven
For him his Houris still might wait
Impatient at the Prophet’s gate.
I loved her – love will find its way
Through paths where wolves would fear to prey;
And if it dares enough, ’twere hard
If passion met not some reward –
No matter how, or where, or why,
I did not vainly seek, nor sigh:
Yet sometimes, with remorse, in vain
I wish she had not loved again.
She died – I dare not tell thee how;
But look – ’tis written on my brow!
There read of Cain the curse and crime,
In characters unworn by time:
Still, ere thou dost condemn me, pause;
Not mine the act, though I the cause.
Yet did he but what I had done
Had she been false to more than one.
Faithless to him, he gave the blow;
But true to me, I laid him low:
Howe’er deserved her doom might be,
Her treachery was truth to me;
To me she gave her heart, that all
Which tyranny can ne’er enthral;
And I, alas! too late to save!
Yet all I then could give, I gave,
‘Twas some relief, our foe a grave.
His death sits lightly; but her fate
Has made me – what thou well mayest hate.
His doom was sealed – he knew it well
Warned by the voice of stern Taheer,
Deep in whose darkly boding ear
The deathshot pealed of murder near,
As filed the troop to where they fell!
He died too in the battle broil,
A time that heeds nor pain nor toil;
One cry to Mahomet for aid,
One prayer to Allah all he made:
He knew and crossed me in the fray –
I gazed upon him where he lay,
And watched his spirit ebb away:
Though pierced like pard by hunters’ steel,
He felt not half that now I feel.
I searched, but vainly searched, to find
The workings of a wounded mind;
Each feature of that sullen corse
Betrayed his rage, but no remorse.
Oh, what had vengeance given to trace
Despair upon his dying face I
The late repentance of that hour,
When penitence hath lost her power
To tear one terror from the grave,
And will not soothe, and cannot save.

Thomas Phillips: Lord Byron in Albanian dress
Thomas Phillips: Lord Byron in Albanian dress

Sources

(1) Romantic Orientalism-LU Lecture, Naji B. Oueijan, Notre Dame University-Lebanon

(2) BBC Lord Byron’s image inspired modern take on vampires

(3) Interrogating Orientalism, edited by Diane Long Hoeveler and Jeffrey Cass, The Ohio State University Press

(4) BYRON’S “TURKISH TALES”: AN INTRODUCTION Peter Cochran

(5) The Combat of the Giaour and Hassan, The Art Institute of Chicago

(6) The Norton Anthology of English Literature, Lord Byron, from The Giaour: A Fragment of a Turkish Tale

(7) A domesticated villain – Lord Byron’s The Giaour, DesOrient

(8) A Comparison Between two Turkish Heroines in Lord Byron’s Poetry: Leila in “The Giaour” and Leila in Don Juan, Mona Sulaiman Farraj Albalawi

Aphrodite (Venus), Pan and Eros: A sculpture in the National Archaelogical Museum of Athens

A sculpture of Aphrodite, Pan and Eros, exhibited in the National Archaelogical Museum of Athens, in Greece, is the subject of this post.

The sculpture was made at about 100 BC of Parian marble, and was found on the island of Delos, in the House of the Poseidoniasts of Beirut. On the low base of the group an inscription is carved: ‘Dionysos, son of Zenon who was son Theodoros, from Beirut dedicated [this offering] to the ancestral gods for his own benefit and that of his children’.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

A few introductory words about who is who are in order.

Aphrodite (Venus for the Romans) is the goddess of love and beauty. A victim of her own success and beauty, Aphrodite has never lost her sense of earthy pleasure.

Eros (Cupid for the Romans) is the god of love, son of Aphrodite. Somethies he is innocent, with rosy cheeks and beautiful smile, other times he is totally vicious, tormenting humans with his arrows.

Pan is the god of the Wild, half goat half man, and a very very notty old fart!

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

What is the story in the sculpture?

Aphrodite, is stark naked. She appears to be trying to fend off an overwhelming expression of affinity by Pan.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Her right hand is slightly raised and holds a sandal.

Is she ready to strike Pan?

It appears to be so.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

But it isn’t.

For one, a closer look at ther muscles will show us that is very relaxed.

For another, her face is almost smiling. A veiled smile emerges. And the angle of her head is such that she is not directly looking at Pan.

The last unmistakable signal that Aphrodite sends to the observer of the scene is the position of her left hand. A woman under attack would almost by instinct try to cover her most exposed nudity, touching the puberty area using her palm. But Aphrodite is not doing that. Her palm is relaxed and at some distance from her flesh.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Pan is in a hopeless state. He cannot help himself and is totally at a loss.

He is trying to embrace Aphrodite in the most awkward of ways. Look at his right hand, how high it is in Aphrodite’s back. Not exactly a gesture of aggression. More a gesture of creeping affinity.

It is like he is lusting for her but at the same time he is shying away from expressing his lust.

group6
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Eros (I would have preferred to call him “Putto” like the Italians do, but being Greek I have to stick to my mother tongue) is a little devil in the middle of the two protagonists of this subdued ensemble action. His apparently tries to separate them, in a sense protecting Aphrodite.

But is he?

Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

His smiling face, his posture (look at the angle of the head) is more like saying “I want to be part of this”.

His bodily posture is a posture of palying. He pushes Pan’s right horn ever so gently, more touching than pushing, smiling all the time.

And the old boy returns the smile.

Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

As a final observation before my conclusion, I offer the angle of Aphrodite’s left ankle. How gentle and relaxed and playful! Restrained and at the same time powerful, but not aggressive!

And this brings me to the supreme feature of the sculpture. Its ambivalence.

All three protagonists are doing something and at the same time they are not.

And in the process, being totally submerged into this ambivalence, they have a hell of a good time!

Ancient Greece at her best!

Aphrodite (Venus), Pan and Eros: A sculpture in the National Archaelogical Museum of Athens

A sculpture of Aphrodite, Pan and Eros, exhibited in the National Archaelogical Museum of Athens, in Greece, is the subject of this post.

The sculpture was made at about 100 BC of Parian marble, and was found on the island of Delos, in the House of the Poseidoniasts of Beirut. On the low base of the group an inscription is carved: ‘Dionysos, son of Zenon who was son Theodoros, from Beirut dedicated [this offering] to the ancestral gods for his own benefit and that of his children’.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

A few introductory words about who is who are in order.

Aphrodite (Venus for the Romans) is the goddess of love and beauty. A victim of her own success and beauty, Aphrodite has never lost her sense of earthy pleasure.

Eros (Cupid for the Romans) is the god of love, son of Aphrodite. Somethies he is innocent, with rosy cheeks and beautiful smile, other times he is totally vicious, tormenting humans with his arrows.

Pan is the god of the Wild, half goat half man, and a very very notty old fart!

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

What is the story in the sculpture?

Aphrodite, is stark naked. She appears to be trying to fend off an overwhelming expression of affinity by Pan.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Her right hand is slightly raised and holds a sandal.

Is she ready to strike Pan?

It appears to be so.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

But it isn’t.

For one, a closer look at ther muscles will show us that is very relaxed.

For another, her face is almost smiling. A veiled smile emerges. And the angle of her head is such that she is not directly looking at Pan.

The last unmistakable signal that Aphrodite sends to the observer of the scene is the position of her left hand. A woman under attack would almost by instinct try to cover her most exposed nudity, touching the puberty area using her palm. But Aphrodite is not doing that. Her palm is relaxed and at some distance from her flesh.

Aphrodite, Pan and Eros; Parian marble  100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Pan is in a hopeless state. He cannot help himself and is totally at a loss.

He is trying to embrace Aphrodite in the most awkward of ways. Look at his right hand, how high it is in Aphrodite’s back. Not exactly a gesture of aggression. More a gesture of creeping affinity.

It is like he is lusting for her but at the same time he is shying away from expressing his lust.

group6
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

Eros (I would have preferred to call him “Putto” like the Italians do, but being Greek I have to stick to my mother tongue) is a little devil in the middle of the two protagonists of this subdued ensemble action. His apparently tries to separate them, in a sense protecting Aphrodite.

But is he?

Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

His smiling face, his posture (look at the angle of the head) is more like saying “I want to be part of this”.

His bodily posture is a posture of palying. He pushes Pan’s right horn ever so gently, more touching than pushing, smiling all the time.

And the old boy returns the smile.

Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.
Aphrodite, Pan and Eros; Parian marble 100 BC. National Archaelogical Museum of Athens, Greece.

As a final observation before my conclusion, I offer the angle of Aphrodite’s left ankle. How gentle and relaxed and playful! Restrained and at the same time powerful, but not aggressive!

And this brings me to the supreme feature of the sculpture. Its ambivalence.

All three protagonists are doing something and at the same time they are not.

And in the process, being totally submerged into this ambivalence, they have a hell of a good time!

Ancient Greece at her best!

Crispy Stuffed Zucchini Flowers

With considerable delay, I publish today one of the absolute delicacies: crispy stuffed zucchini flowers.

Zucchini flowers to die for!
Zucchini flowers to die for!

It is November, Christmas is coming, and I dream of the Summer and its delicacies!

The whole secret is to have the super freshest of zucchini, cut from the vegetable garden a split second ago!

Time is important, in case you have not noticed, not only in what we do, but also in how we prepare our food. 

Mizythra with coriander and mint
Myzithra with coriander and mint

I stuff the flowers with a soft white cheese mix. I use myzithra from Crete, add salt and pepper and some chopped coriander and mint.

Fresh ricotta would also have been perfect for the dish.

Dusted with flour
Dusted with flour

After stuffing the flowers I dip them in water and dust them with flour before dipping into the batter mix.

Bubbly batter does it!
Bubbly batter does it!

The batter has to be full of bubbles! A bubbly batter does it! Stir vigorously until you have the bubbles that will give lightness to the batter.

Crispy stuffed zucchini flowers served
Crispy stuffed zucchini flowers served

Served and ready to be enjoyed!

Crispy stuffed zucchini flower sliced and ready to be enjoyed - please use your hands!!!
Crispy stuffed zucchini flower sliced and ready to be enjoyed – please use your hands!!!

I slice them in two halves with a knife, and subsequently eat them with my hands. Totally different sensation.

sliced2

I do not know about you, but I am good for a little more!

Restaurant “Thalassa mou”, Alyki, Paros, Greece

During a short visit to Paros, I visited a restaurant for the first time.

It is a restaurant by the breaking wave on the edge of Aiyki, in the southwestern corner of the island.

By the breaking wave
By the breaking wave

The restaurant opened last year and operates during the – unfortunately short – tourist season of Paros, from late May to late September.

It is owned and operated by a couple.

The husband is a chef trained in France, and the wife runs the front of the house.

Appetizers presented as tapas
Appetizers presented as tapas

The menu is local food, prepared and presented in a beautiful and “modern” way.

It not only tastes good, it looks good as well!

Tuna carpaccio with avocado
Tuna carpaccio with avocado

They have a seven small dishes appetizer plate that is a must. Eggplant salad, marinated anchovies, chick peas, octopus in wine, fava bean salad, taramossalata (egg roe dip) and a delicious cold tomato soup.

The highlight of the appetizers is a small tuna carpaccio with avocado and mint.

Cheese fritters
Cheese fritters

The cheese fritters are made with local fresh cheese and are delicious!

Rabbit with lardon, and mushrooms, served with tagliatelle
Rabbit with lardons, and mushrooms, served with tagliatelle

I was curious how rabbit would taste in a hot day, and was justified in taking the dish. Absolutely delicious, juicy and gamey local rabbit, in a light sauce with lardons to die for, parmesan cheese and tagliatelle al dente.

One thing is for sure. I will visit them again!

mmm

Greece’s Golden Dawn: Better late than never?

Cy Twombly: Untitled
Cy Twombly: Untitled

In February 27th 2013, in a post on Golden Dawn’s proselytizing children, I wrote:

“Why New Democracy, PASOK, Democratic Left and SYRIZA do not ask the institutional court of the country to outlaw Golden Dawn?”

Today the leader of Golden Dawn and some of his deputies have been arrested by the authorities in Greece and face charges for setting up and operating a criminal organization.

The most recent sad predecessor to today’s events is the cold blood murder of a leftist artist in a working class suburb of Piraeus, near Athens in Greece.

He was stabbed to death by a Golden Dawn operative.

Today’s events are a major change for the Prime Minister, Antonis Samaras, leader of the New Democracy Party, the major member of the right-center coalition governing Greece.

But it is just a step, albeit a major one.

Jean Michel Basquiat, Untitled
Jean Michel Basquiat, Untitled

A lot of questions require answers.

Who was financing the operation of the Golden Dawn?

What were the links of the organization to the Police and the Army?

Why did the ruling New Democracy Party block all attempts of the other parties to stop Golden Dawn’s activities until now?

Vassilenas Restaurant in Piraeus, Greece – Το εστιατοριο “Βασιλαινας” στον Πειραια

I recently visited the Vassilenas restaurant in Piraeus, Greece.

It has been one of my father’s favorites.

The restaurant began its life as a grocery store back in 1920. The owner was also serving some “meze” dishes to the grocery’s customers.

When my father started visiting, the grocery store had transformed itself into a taverna.

But not any taverna.

My father’s reminiscences were almost ecstatic.

He would recall that after entering the taverna, the owner, “Vassilenas”, would greet the customer and perform some sort of “assessment”, on the basis of which he would start serving various dishes to the table. The customer was advised to “ride the wave”. And it was a wave of gastronomic nirvana!

Today the taverna has been transformed into a restaurant, and is run by the son of the “Vassilenas” of my father’s days.

In my last visit I had the set menu.

Pumpkin soup
Pumpkin soup

It starts with a pumpkin soup, with cumin, nutmeg and curry.

I do not like soups. Especially in the Greek summer. But I tasted it. And I ate it every scoop of it. Delicious!

Anchovies
Anchovies a tomato marmalade slice of crispy bread and taramosalata (fish row dip) with Arabian bread

Next came marinated anchovies on a tomato marmalade slice of crispy bread and taramosalata (fish row dip) with Arabian bread. The anchovies were light in the salt and vinegar and tender, perfectly accompanied by the tomato marmalade. The fish roe dip creamy and light.

Sea bream
Sea bream

It was followed by sea bream on a bed of spinach and leeks, served with a cauliflower puree and a wild fennel sauce.

The fish was perfectly cooked, and the combination with the greens was delicious.

Duo of salmon
Duo of salmon

Next came a duo of salmon. Marinated in soy sauce and grilled in a crust of spices.

Duo of salmon - grilled salmon detail
Duo of salmon – grilled salmon detail

The grilled piece was cooked to perfection. You can see for yourself the photo above.

As I write this, I realize how exciting it has been to taste all these wonderful dishes, let alone relive the experience by writing about them!

This is a very good reason to write indeed!

Grilled calamari and fried cod
Grilled calamari and fried cod

In any case, grilled calamari and fried cod fillet came next.

The calamari was served on a bed of smoked eggplant.

I was overwhelmed by the cod, as it was perfectly fried, not oily at all, accompanied by heavenly aioli.

"Rice-shaped" pasta with mushrooms
“Rice-shaped” pasta with mushrooms

A “rice-shaped” pasta dish with mushrooms came next, It was cooked as a risotto, and wwas delicious, but I must confess I felt it was rather late in the menu for this type of dish. I am used to have pasta as a first dish, and could not really come around to tasting it as the penultimate dish.

Braised pig's cheeks
Slow cooked pig’s neck

The slow cooked pig’s neck concluded the savoury part of the menu. I loved it. It was served with quince marmalade, sweet potato puree, confit of onions and angel hair fried potatos.

Lemon tart
Lemon tart

All the dishes were exceptional, including the desert, a lemon tart I could kill for.

But I did not, thankfuly.

Instead I paid the bill and went home a happy man.

Deconstructed Green Beans (Haricot vert) Yahni – Αποδομημενα φασολακια γιαχνι

Green beans (haricot vert) “yahni” is one of the most delicious dishes during the Greek Summer.

Today I cook the deconstructed dish.

The desire for deconstruction was triggered in the open market where I bought the beans. They were so fresh and fragrant and the same time so delicate that I felt the need to maintain the “essence” of the green bean while at the same time enjoying the tomatoes, the onions and the garlic that are the key ingredients of the “yahni” dish.

In what follows I present the preparation of the three key ingredients of the dish as they were prepared and cooked.

Tomatoes in the sauce pan
Tomatoes in the sauce pan

The first key ingredient in a good “yahni” is the tomato sauce. A good tomato sauce is made from fresh tomatoes. I use small tomatoes, of the variety that they use for the canned ones (thicker skin, firm flesh).

The first stage in the making of the sauce is to cut them in half, add salt and pepper, a bit of dry oregano and olive oil, and put them in a sauce pan in medium heat.

Green beans (haricot vert)
Green beans (haricot vert)

The focus of the dish is the green bean. To extract maximum natural flavor I sliced them very thin.

Green beans (haricot vert) thinly sliced
Green beans (haricot vert) thinly sliced

To maintain the natural flavor, I only blanched them for two minutes.

Sliced green bean detail
Sliced green bean detail – before blanching

Lets return to the tomato sauce.

Tomato sauce - stage 2
Tomato sauce – stage 2

When the tomatoes get soft, I add chopped basil and then put them through the sieve to remove the skins.

Tomato sauce - removing the skins
Tomato sauce – removing the skins

What remains will develop intense flavor after it is reduced to a thick juicy sauce.  What you need for that is to add some olive oil.

Tomato sauce final stage: reduction
Tomato sauce final stage: reduction

As the sauce is being reduced, I blanch the green beans. It is important for me not only to maintain the flavor but also the texture. I do not want them to be mushy, but crunchy.

Blanched green beans - detail
Blanched green beans – detail

I let the beans relax and add garlic cloves and fresh onion stems in a pan with olive oil in low heat.

Garlic and fresh onions in olive oil
Garlic and fresh onions in olive oil

After half an hour I have delicious soft garli cloves, and onions. that maintain their original shape and have maximum flavor.

Fresh onions and garlic
Fresh onions and garlic

I keep the olive oil infused with the garlic and onion flavor on the side and start building a stack..

detail2

Bottom layer is the onions and the galic, then the green beans, and on top the sauce.

Deconstructed green beans yahni - served
Deconstructed green beans yahni – served

Enkoy with a robust white like asyrtico or a fine medium bodied red like a pimot noir. 

Bon appetit!