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The Master's Hand

The painter was a genius,
His pupil knew this well,
For in the times that they discuss
They bond as in a spell...
They think such thoughts that change their art,
Their purpose and their style,
Such that new wisdom can impart
Its reasons for a smile...

The pupil spent a whole weekend
Within the studio,
Together with his brand new friend,
Who seemed all things to know...
The painting pupil's Easter scene
Was called The Cross of Christ.
Behold the Man... The Nazarene...
God's Lamb here sacrificed...

The pupil thought his painting done
When Sunday night came round,

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poem by Denis Martindale
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On Seeing A Pupil Of Kung-sun Dance The Chien-ch`i

On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.

Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of Kung-sun'', was the reply.

I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivaled in her day.

From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.

Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.

Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.

In time past there was a lovely woman called Kung-sun, whose chien-ch`i astonished the whole world. Audiences numerous as the hills watched awestruck as she danced, and, to their reeling senses, the world seemed to go on rising and falling, long after she had finished dancing. Her flashing swoop was like the nine suns falling, transfixed by the Mighty Archer's arrows; her
soaring flight like the lords of the sky driving their dragon teams aloft; her advance like the thunder gathering up its dreadful rage; her stoppings like seas and rivers locked in the cold glint of ice.

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poem by Du Fu
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On Seeing a Pupil of Kung-sun Dance the Chien-ch`i

On the nineteenth day of the tenth month of the second year of Ta-li (15 November 767), in the residence of
Yuan Ch`ih, Lieutenant-Governor of K`uei-chou, I saw Li Shih-er-niang of Lin-ying dance the chien-ch`i.
Impressed by the brilliance and thrust of her style, I asked her whom she had studied under. ``I am a pupil of
Kung-sun'', was the reply.

I remember in the fifth year of K`ai-yuan (717) when I was still a little lad seeing Kung-sun dance the chien-ch`i
and the hun-t`o at Yen-ch`eng. For purity of technique and self-confident attack she was unrivalled in her day.
From the ``royal command performers'' and the ``insiders'' of the Spring Garden and Pear Garden schools in the
palace down to the ``official call'' dancers outside, there was no one during the early years of His Sagely Pacific
and Divinely Martial Majesty who understood this dance as she did. Where now is that lovely figure in its
gorgeous costume? Now even I am an old, white-haired man; and this pupil of hers is well past her prime.

Having found out about the pupil's antecedents, I now realized that what I had been watching was a faithful
reproduction of the great dancer's interpretation. The train of reflections set off by this discovery so moved me
that I felt inspired to compose a ballad on the chien-ch`i.

Some years ago, Chang Hsu, the great master of the ``grass writing'' style of calligraphy, having several times
seeen Kung-sun dance the West River chien-ch`i at Yeh-hsein, afterwards discovered, to his immense
gratification, that his calligraphy had greatly improved. This gives one some idea of the sort of person Kung-sun
was.

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poem by Tu Fu
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Lots Of Writing Talents

let us discuss the pupil-writer
worst pupil in the class
with lots of writing talents

worst pupil in the class
with lots of writing talents
worst behaviour most

potential makes perfect sense
lazy uninterested bodes
well for a bad future pending

bodes well as a bad storm omen
storm in a tea cup or personal trials?
wisdom pretends to make an effort

poem by Terence George Craddock
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Book III - Part 02 - Nature And Composition Of The Mind

First, then, I say, the mind which oft we call
The intellect, wherein is seated life's
Counsel and regimen, is part no less
Of man than hand and foot and eyes are parts
Of one whole breathing creature. But some hold
That sense of mind is in no fixed part seated,
But is of body some one vital state,-
Named "harmony" by Greeks, because thereby
We live with sense, though intellect be not
In any part: as oft the body is said
To have good health (when health, however, 's not
One part of him who has it), so they place
The sense of mind in no fixed part of man.
Mightily, diversly, meseems they err.
Often the body palpable and seen
Sickens, while yet in some invisible part
We feel a pleasure; oft the other way,
A miserable in mind feels pleasure still
Throughout his body- quite the same as when
A foot may pain without a pain in head.

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poem by Lucretius
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Shakuntala Act 1

King Dushyant in a chariot, pursuing an antelope, with a bow and quiver, attended by his Charioteer.
Suta (Charioteer). [Looking at the antelope, and then at the king]
When I cast my eye on that black antelope, and on thee, O king, with thy braced bow, I see before me, as it were, the God Mahésa chasing a hart (male deer), with his bow, named Pináca, braced in his left hand.

King Dushyant: The fleet animal has given us a long chase. Oh! there he runs, with his neck bent gracefully, looking back, from time to time, at the car (chariot) which follows him. Now, through fear of a descending shaft, he contracts his forehand, and extends his flexible haunches; and now, through fatigue, he pauses to nibble the grass in his path with his mouth half opened. See how he springs and bounds with long steps, lightly skimming the ground, and rising high in the air! And now so rapid is his flight, that he is scarce discernible!

Suta: The ground was uneven, and the horses were checked in their course. He has taken advantage of our delay. It is level now, and we may easily overtake him.

King Dushyant: Loosen the reins.

Suta: As the king commands. – [He drives the car first at full speed, and then gently.] – He could not escape. The horses were not even touched by the clouds of dust which they raised; they tossed their manes, erected their ears, and rather glided than galloped over the smooth plain.

King Dushyant: They soon outran the swift antelope. –Objects which, from their distance, appeared minute, presently became larger: what was really divided, seemed united, as we passed; and what was in truth bent, seemed straight. So swift was the motion of the wheels, that nothing, for many moments, was either distant or near. [He fixes an arrow in his bowstring.]

[Behind the scenes.] He must not be slain. This antelope, O king, has an asylum in our forest: he must not be slain.

Suta: [Listening and Looking.] Just as the animal presents a fair mark for our arrow, two hermits are advancing to interrupt your aim

King Dushyant: Then stop the car.

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poem by Kalidasa
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Good teachers make the best of a pupil's means; great teachers foresee a pupil's ends.

classic quote by Maria Callas
Added by Veronica Serbanoiu
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That is the difference between good teachers and great teachers: good teachers make the best of a pupil's means; great teachers foresee a pupil's ends.

quote by Maria Callas
Added by Lucian Velea
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The educator must believe in the potential power of his pupil, and he must employ all his art in seeking to bring his pupil to experience this power.

quote by Alfred Adler
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Teacher’s Day (in acrostic)

Teaches and trains even the worst pupil
Ever ready to help the student in troubled times
Allows students to nurture their talents
Chides and punishes justly
Held in high esteem
Exemplary and encouraging
Remembers the pupil, forgets the name
’Selflessly serves society to the best of his/ her ability

Defends the weaker students against the robust
Advises appropriately
Yields to the highly intelligent student

Copyright By Dr John Celes 5-09-’11

poem by John Celes
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