Photo Album: "Aircraft i have flown on" | Airliners.net\nPhoto Album: "Aircraft i have flown on"By berowley | Viewed 866 times“All the ones i can remember!”Displaying photos 1 to 13 from a total of 13\tSponsor Message: Photo ID: 0978104\nG-DOCN (cn 25648/2379) Joop Stroes - Global Aviation PhotographyContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 0884432\nG-OOAU (cn 1637) Robert PittuckContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 0980864\nG-SMAN (cn 261) Now in the new Monarch liveryAndrew P ScottContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1034745\nG-MONE (cn 23293/56) Monarch Airlines B757 starting from Runway 08 at Tenerife Sur. Nikon D70, Nikkor 70-200 2,8G.Sven HagströmContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1045963\nG-OJMR (cn 605) Nice close up of 'MR' entering runway 24L wearing the new 'flymonarch' titles.GlobalpicsContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\tPhoto ID: 1050108\nG-MONC (cn 22781/18) A charter for the UEFA Cup final for the game FC Sevilla vs Middelsbrough. The result of the game was 4-0 for FC Sevilla.Roel van der Velpen - MST-AviationContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1040031\nG-MAJS (cn 604) MON2644 from LGW is landing on R08Fernando González Alcobre - Canary Islands SpottingContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1101522\nN180DN (cn 25985/428) CphPixContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1084520\n3B-NAV (cn 094) Gliding towards runway 27R. (canon 20D)Wim CallaertContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 0939645\n3B-NBE (cn 268) [Canon 10D / ISO100 / 100-400mm / F8 / 1/500s]Bruno AlthausContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 1062263\nG-EUPE (cn 1193) Evening arrival.Tony Marlow [Airplane-Pictures]ContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 0755637\nG-CDUP (cn 24793/292) Take-off Rwy 23 with a nice condensation effect on both engine´sMiguel Nobrega - Madeira SpottersContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search\nPhoto ID: 0869729\nC-FCRE (cn 47868/200) Thomas Posch - VAPContactLink to me!FITSCRView LargePhotoView Similar Photos Add toAlbumSend as PostcardCorrect informationCross data search


Trump needs Twitter. Twitter needs Trump. Who needs who more? - Hong Kong News


Earrings - Fausset's Bible Dictionary -\nFausset, Andrew R. Entry for 'Earrings'. Fausset's Bible Dictionary. https://www.studylight.org/dictionaries/eng/fbd/e/earrings.html. 1949.


Iseger kening yn Broeksterwâld 15 aug 2009 - 21:33\n0 reaksjes Daniël Iseger (argyffoto)\nJan Dirk de Groot, Karel Nijman en Daniël Iseger ha sneon de útnoegingspartij yn Broeksterwâld wûn. Yn de striid om priis en preemje waard it partoer fan Hendrik Tolsma, Herman Sprik en Johannes Boersma mei 5-5 en 6-0 ferslein.\nDaniël Iseger ferlear mei syn maten Pieter van Althuis en Erik Haitsma op de earste list. Iseger hie gelok dat er foar de net oanwêzige Gert-Jan Meekma bylotte waard, de krâns pakte en kening waard.\nKorreksje meldeTrefwurden: argyfLês foarView the discussion thread.Diel dit berjocht op: 16-08Hearrenfean wint fan Vitesse 15-08Wer winst Sierk-Jan de Haan Besjoch ek...


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Gjin formalisme om ’e nocht\nGjin formalisme om ’e nocht\nIt lyryske wurk fan Douwe Tamminga\nFriduwih Riemersma - Fers2 6.2, 29 maart 2020\nTsjinakseljen tsjin grutskens, grandeur en klettergoud is in ûnûnderbrutsen tema yn ’e literatuer. In wolkomme en needsaaklike kompinsaasje foar de celebrity-oanbidding fan dizze tiid foarmet Douwe Tamminga. In Johnny the Selfkicker wie er net, konstatearre er as ier-tritiger, begjin jierren fjirtich.\nGean út ’e wei, ik bin poète maudit!\nIn dichter-divel, bret út oare djerre\nas dy’t yn Fryslân langer libje en stjerre:\nlibje yn Deugd en stjerre oan Harmoany.\nSlûksturtsjende ethici, hja neame my forsearre,\nmyn dicty ûnbesnoeid, myn spleen would-be.\nHja ha gjin kunde oan de briljante esprit\nfan in Rimbaud, Verlaine of Baudelaire.\nMei sokken sit ik oan by’t bacchanaal.\nIk skaak sultanes, ’k duëllearje, ’k dwaal\ntroch stêden dêr’t ferlied en ûntucht spoekje.\nOrgyen hâld ik yn in kafferkraal.\nTewyl ik teetiid yn myn daagliks hoekje\nbetochtsum plúzje oan in bitterkoekje.\nDe gewoanlike Frânske fertochten wiene alle trije hiel fruchtbere sonnettiers. It is net tsjin har dat ‘Poète maudit’, in Shakespeareaansk sonnet yn strak heldejambe, him satirysk keart. Jo kinne Tamminga syn komplete oeuvre klear en bûnich karakterisearje as foarmfêst. Mar om 1931 hinne waarden de foarmeasken fan it wurk en de persoanlikheid fan de dichter, foarm en fint, alhoewol’t der net in logyske tsjinstelling is, geskikt achte om âld en nij mei ôf te beakenjen. It argumint fan ’e fint-kant wie benammen dat foarm nei te bauwen is, wylst in dichter syn persoanlikens unyk en autentyk is. In epigoan is de poète lykwols net: hy set sels orgyen op tou, yn in strieën hutsje. Aldmannich tsjin bacchanalen is er likemin. Want hy skoot by oan Un coin de table, Fantin-Latour syn ferneamde skilderij fan de duvelsdichters, Rimbaud & Verlaine, en har symbolistekrite le Parnasse en it iene kopke tee.\nWol set de dichter himsels yn it konkludearjend kûplet doelberet op ôfstân fan syn tekst. Hy stjoert de sûp- of seksfeesten de wrâld yn “tewyl” er efterbliuwt yn syn “deistich hoekje”: as triviale produsint fan kommunikaasje. Autonomisme, de autonomy fan de keunstige tekst en in auteur dy’t der net ta docht—prachtich werombrocht ta it bitterkoekje—gou ynienen yn ’e Nederlânske poëzy as âldmoadrich: it ‘sierfers’ of ‘foarmkultus’. Tamminga bewarret de klassike foarmen, ek al pakt er moderne tema’s op, hjir de ferhâlding fan de dichter ta syn fersen en syn ynkompetinte kritisy. Lykas de oare foarmlju, yn it foarste plak Nijhoff, brûkt Tamminga alledeiske sprektaal en kiest er ierdske ûnderwerpen: mem of bern of thús tegearre waarmite.\nbûgd oer it miel, dat tusken iensumheid\nIt byld fan it plingoffer foar de deade krijt efkes letter fersterking yn in wyt taffelslekken; mar it wreedst brekke yn dit memento mori de enjambeminten de yntimiteit tusken de twa net mear jonge geleafden. It is sûnder mear unheimlich sa’t “reabekape” rymt mei “nea”, ôfbrutsen is fan it “ljocht” en dan ferbûn is mei “tape”. Rym helpt net inkeld de struktuer, de bân tusken de rigels en it ritme, mar stiet foar wat hegers. In stikje fierder moatte “úttsjinne (…) pompeblêden yn de grêften/ fan it ferjit” oer de strofebrek hinne rikke nei “it lims en de biennen hêften” fan foark-en-messen op it wite taffelskleed dat in “lyts en faai fjild-fan-krêften” is. Yndie, grêften binne keunstmjittich, en wy hawwe it mes sels beetholden. It jammerjende ê-lûd ûnderstreket symboalysk dat wy no om ússels tinke moatte. As “de kraften fan ús kinnen” leechgetten binne dan “sil dizze lytse sitadel in/ lêste festing ús wêze”.\nTamminga syn bylden binne nea inkeld mar situasjoneel en altyd mear as in skets dy’t sa trou mooglik is oan ’e werklikheid. Der is gjin sprake fan dat er it symbolisme ferlit; tsien jier letter sil er de pre-symbolist Poe syn út symboalen weefde fers ‘The raven’ oersette nei it Frysk en dat yn 1984 opnij ferskine litte as in selsstannige útjefte.\nAs struktuer en it brûken fan symboalen ensafuorthinne yn de fersen net ymplisyt wat sizze oer de literatueropfettingen fan de dichter dogge in stikmannich stikeldichten yn de bondel Leksums dat wol eksplisyt. Horror treft de dichter dy’t sjerpstruts by de Dútsers: “O Kalma, nuete reizger nei Den Haach!/ O bouwer, mar oan eigen sarkofaach!” Mar it foarm-en-fintdebat gie net inkeld oer hoe’t jo literêr wurk meitsje; it fertelde ek wat de noarmen fan literatuerkrityk wêze moatte. Hoewol’t de skriuwer noch lang net ‘dea’ wie, sil foar in foarm-man as Tamminga de selsrepresintaasje fan dichters en de auteurspoëtika fan folle minder belang west ha as de tekst sels. Keunst koe weromfalle op syn fûnemintele kapasiteit om, mei estetyk en stylmiddels, in koherinte eigen wrâld te skeppen doe’t it net mear hoegde te stribjen nei in transindinte hegere wearde, lykas it ûntbleatsjen fan in glorieuze wrâld.\nDochs skreau Tamminga in hiele protte dat wol yn tsjinst stie fan in hegere wearde. Dat binne meast balladen.\n‘De himel is iepen, de Heilân is myld\nEn foldie foar alle kwea;\nDe wrâld is dôfhûdich, de tiden swier\nEn it lean fan de sûnde is de dea.’\nDat preket de “sjongende heilsoldaat” op “in skrouske jûn” ta de minsken dy’t “hastich” foarby rinne op de “winige grêft”. It tichtplakken mei eigenskipswurden is typysk jongfrysk—de formule wie in yndividualistyske, boargerlik-stedske ynhâld yn opdiene styl, kreatyf metrum, wielderige taal, neologismen—wat wy net langer wurdearje. Mar de anapest en de balladesesuer komme der noch like prachtich ûnderút. Dialooch is karakteristyk foar de ballade want dy is in narrative foarm, hoewol’t er fan de njoggentjinde ieu ôf brûkt waard foar de lyryske poëzy, tink oan Coleridge. Lyryk is dan net sasear jongfrysk-‘persoanlik’, en likemin ‘fint’, as wol egoïstysk, want de dichter besjongt himsels, en dêrby binne it ûnderfinen, tinken en gefoel sa simpel, koart, fris, spontaan en muzikaal mooglik troch it ferbyldingsfermogen modellearre. Mar op ’e minachting foar foarm en de selssucht wie al krityk kommen, ûnder mear fan de symbolisten, mei Rimbaud syn ‘Je est un autre’, en in klassyk weroplibjen.\nDe balladefoarm is om de krêftige ritmes, rimen en werhellingen, sadat se pakkend en maklik mei te sjongen binne, faak brûkt foar bernelieten. Dêrom hat de ballade sterke assosjaasjes mei de bernetiid.\nNet yn in kein en keunstich tún\nMar, as de maaietwirren prykje,\nFljocht oan in bochtich binnendykje\nHim it bloeisel nei de krún.\nStek de rigeljende fruchten\nMei dyn koarte oerdied oan\nEn bliuw bloeiend, hagedoarn\nYn ’t lij fan ús gehuchten.\nHjir is net sasear de formele mjitte, it metrum, benutte, as wol it natuerlike taalritme: nei alle koarte kribelwurdsjes komt it fjouwerliddige “maaietwirren” as in dúst. De donkere lange aa set dat nochris oan: it wiist faai bûten “ús gehuchten”. Ingelske balladen drage de oantinkens oan de eigen nasjonale bernetiid. Op in stuit waard de ballade ynset om in korpus teksten gear te stallen dat nasjonalistyske ympulsen wjerspegelje soe, ek yn Fryslân.\ndochs sit gjin Starumer yn noed\nom eigen folk, om have en goed,\nhar gaazje is besomme;\nde himpen float leit op ’e ree\nferank’re tsjin de boaze see,\ndat lit de stoarm mar komme.\nEigen folk en god (en famkes) wolle hjoeddedei net mear rjocht bekoare. Allinne in pear formidabele losse strofen kipe derút, dy’t gauris lyrysker binne, oftewol, dy’t sjen litte hoe’t lyryk foar kwaliteit is kommen te stean.\nSoms waait in fûgel yn ’e nacht\nFan ’e lânkant, wurch en stom,\nAs er fielt hoe rêd it hertsje slacht\nDan flokt de man fan ’e hûnewacht\nEn wouteret dêr mei om.\nDan komt de bondel It griene jier: In leafdesliet. Tamminga droech him op oan syn twa deaberne dochterkes, Ant en Ant, en fertelt oer in nije ferwachting. De boarne fan westerske poëzy leit yn ekstreme ûnderfining, tink oan de Ilias. Mar safolle as der oer oarloch dichte is, hoewol’t net in soad minsken dêryn fjochtsje—ek Tamminga net—sa’n bytsje hat de wrâldpoëzy it bern krijen ta ûnderwerp nommen, lit stean kanonisearre, ek al is elke dichter berne. Tagelyk is de narrative fan swierens folslein, wis net inkeld yn ’e bibel, behearske troch manlju, mei meager súkses yn har bedjipjen fan it frouljusliif. Dochs is yn It griene jier de ‘ik’ in frou. Mei in “Sjoch breugeman de hôven ree/ It tún is sêftbepade” ropt hja har geleafde op bêd. En dêr begjinne de njoggen moannen fan maityd nei winter yn de trije bibelske skiften fan ûntfinzenis, advint en berte en in beslútskift fan ferfolling en ferromming, “Hoe sûnder dy moast ik net rinne/ In tsjernpaad om in bientsjekou”, en fan bidden om begrutsjen mei de froulju—net de manlju—dy’t gjin bern krije kinne.\nYn idealisearjende natuerbylden en eleminten dy’t ynblaasd lykje troch it Heechliet, lykas de hôf, de appel en de krinten, bedriuwt de frou de leafde.\nNo lis ik wiid oan alle seamen\nEn ’k fiel troch my de weagen slaan\nDe springfloed en de sterke ûnderstreamen\nFan dy o oseaan.\nDe toan is fan pasjonearre freugde: “dû hast myn tonge kuolle (…) Hoe soe ik fan dyn bysliep sjonge wolle”. De finale hat it tryste fan in ôfskied: “It liet is dien, grut wie de nacht en goed// Wie ek it liet dat yn my kûzet/ Al is myn kessen no fan triennen wiet”. Dat heart iepenhertich genôch. Oan de oare kant is it braaf njonken de eroatyske ekstaze fan Marsman, dêr’t sa’t it liket nei sjoen is, al is it model foar It griene jier de 9-ferse-syklus ‘Geboorte’ fan Ed Hoornik. Dy ferskynde trije jier foar’t Tamminga yn 1941 útein sette en folge yn ferskate fersfoarmen, fan kwatryn yn manlik/froulike pearrym oant sestet en kwintet, in swiere frou dy’t praat oer de ferwachte berte fan har poppe, bang is om it te ferliezen, benammen as se it efkes net skoppen fielt, wrantelich is oer god, útskroeven is om it earste lûdsje fan it bern en bidt foar de berneleaze froulju. Tamminga nimt, op it kwintet nei, alles oer en ferwurket it mei syn eigen byldryk symbolisme. Dat jout in idee fan oarder of útlisberens, “Ik bin de eker, dû de siedder”, sadat it barren en de dingen as sinfol nei foaren komme, op in manier dêr’t er mooglik de Fryske kulturele grinzen mei oergie.\nWant net langer wie it fuortplantsjen hillich; it is minsklik. Prachtich is hoe’t nei de jubeljende leafdesnacht de setting ynienen realistysk is, “No gean ik troch it hûs myn gongen/ Stil nei de lûde dei fan doe”. Der is twivel, “Doe’t der bazunen yn my songen/ O breugeman en ’k wit net hoe”, en eangst, “Ferrifeljend is it lûd fan dowen/ As blommen op in deadebier”. Wat it godbyld oanbelanget—religy is by Tamminga altyd oanwêzich en nea optwingerich—is de mem net tankber, mar earder lilk: “O trien, it kin de Hôfker misse/ It krintsjen fan de druvetros.” Sa sit it skift Advint fol mei oanwizingen dat it swier-wêzen fier fan soargeleas is. It park, mei de swannen dy’t “Har ronflich oarbyld efternei” swimme en de blauspjocht en sweal dy’t nêsten bouwe, liket har in “dwaaltún” ta.\nEn ’t iverjen fan sweal en spjocht\nIn liep gepleach om my allinne …?\nO as de frage my befljocht.\nNije hoop ferrast har. Se hâldt de siken yn om it wûnder, mei spondeeën en in trochbrutsen ritme: “Doe kaamst my oan (…) Sêft woestû yn my ferwege/ Sêft kaamstû yn.” Mar opnij is der eangst: “No’t ús ferlossing is op hannen (…) O boarterke, bekòarje nea.” De ‘tink-rym’ fan nea op dea ûntgiet jo net. As dêrnei de mem it ûnberne bern beskriuwt as finzene yn it tsjuster, “In útgong taastende op ’e fiel”, tinke jo oan it ûngelokkige bûtensletten bern dat net berne wurde sil. Dan, úteinlik, iepenbieret him de tragyk: dat it bern in gat opfolje moat, “Bringe ta genêzen/ ’t Grut ûnwennich-wêzen.”\nDe foarm is frij rigide, krúsrymkwatrinen en trochayske pearrymsestetten, mei tradisjoneel alle rigels mei haadletter. De retoryk beskermet tsjin in oerdie oan gefoel: tsjin sentimintaliteit. It ûnderwerp lient him net foar in parlandotoan. Mar ûntradisjoneel is dat de punt of komma meast weilitten is. Dat jout in stream of consciousness-effekt: “Hoe is dan no de eangst// My op it netflues fallen?/ Bylden omglûpe my op sêfte soal.” It fers biedt alle romte oan de gefoelens fan de mem, har eangst en hoop. It is dêrmei in foarrinder fan it nij-realisme fan de jierren sechstich, dat omtinken opeaske foar de grutte emoasjes om libben, leafde, sykte, fergonklikens en dea hinne. Opmerklik yn ’e monolooch fan de mem is de ûnderhûdske kulturele observaasje, hast kulturele krityk, yn de bea om froulju dy’t tsjin it ein fan har fruchtberens rinne wat ferdivedaasje te jaan.\nJou, as de kimen jûnich wurde,\nWat ynhâld oan har liddichheid\nEn blies jins amme, Hear\nSjogge jo nei wêr’t er it gefoel mei oerbringt, dan falt earst Tamminga syn singeliere hâlding njonken emosjonele driuw op. De dichter dy’t efterfolge wurdt troch it fisioen fan in harkjende wrâld en dêrmei prate wol, wie âlderwetsk makke. De jongfryske definysje fan poëzy is as it spinnen fan myn kat: út suvere selsekspresje, sa oars mooglik as it miaukjen om nodzjen fan it brede publyk. Mar It griene jier is gjin solipsistyske autobiografy. De bysûnderheden, “Soms sjoch ik in glêzen brêge skowen/ Spand oer in donkere rivier”, sprekke foarby harsels. It ferskaat oan betsjuttingslagen komt út de taalkonsintraasje en -kompresje wei, sa’t bygelyks de weeën—mei opnij in subtyl tink-rym—op-en-delje: “Dû fielst sa apelich en moai.../ Armeeën stampe troch de steppe”.\nDe faak flinke reduksje ta symboalen, “En alle liet wurdt naneliet”, easket raasjo: betsjutting ôfliede út tekens. Mar is dy ferbale essinsje keppele oan it hearbere aspekt, troch rym, dan is de ‘mood’ der altyd earder. Want rym is in direkt waarnommen, ûnberiddenearre struktuer dy’t saken ta in ein bringt. Rym is tagelyk lûd en sin.\nHat dy de wintertiid befongen\n’t Is nacht, de flearmûs yn ’e toer\nHat slûch him oan ’e balke hongen\nDe bij it ylgat fan syn koer (…)\nOpmerklik is ek it boartsjen à la Baudelaire—Tamminga koe Frânske poëzy yn it orizjineel lêze—mei rympatroanen grûne op it Frânsk syn froulike en manlike wurdútgongen, op in stomme e, dan wol sûnder dy e. Al of net in e stjoert automatysk ús persepsje. ‘Lune’ resonearret, sadat jo ferwachtsje dat der noch mear tekst komt; ‘soleil’ heart abrupt, as stie der in punt efter. Dus wol de alexandrine, net om it snobistysk gûchelspul mar deagewoan om ús oanberne kommunikaasjefermogen, earst it froulik rym, dat ús tariedt op de nije rigel, en dan ôfslute mei it manlike. Mar, Macron is manlik en resonearret dochs, lykas as alle nasale lûden. Dat is de trúk dy’t Tamminga konsekwint tapast. Syn manlik rymlûd is sa faak in twalûd of lang lûd, dat as it ris net sa is, en it rymlûd wol subyt de strofe ôfkapt, der dalik drama is. Sil it bern it bertekanaal oerlibje? “Lit, Ingel (…) in waarme wjuktop fan dy fiele/ Nodat de smert my iepenslút”. It werhelle ‘út’ fersterket de ôfsluting fan it swierwêzen.\nDe Nije gedichten binne faak net nij, mar koene yn ’e oarloch net ferskine. Yn in pear gedichten bliuwt wol it rym, soms yn yngewikkelde patroanen—dêr’t ik it doel net altyd fan sjoch, om’t rym ûnder mear wurket troch elemintêre ferwachting en ferfolling—mar giet it formele metrum deroan.\nDe tiid is om.\nWa’t no werom-\npaad socht, fynt alle doarrren ta,\nrint stomp op ieuwen dy’t fertoarren ta\nien grut fersom.\nSânris yn ivichheid rûnom.\nwraggelt. De eleminten,\nhoarte oan ’e skoatle\npoarte fan ’e ûndergong.\nDea, op syn telle\nswinglet de wrâld-tersk:\nNazy-Dútslân wie krekt Poalen binnenfallen, Ingelân en Frankryk ferklearren de oarloch. In tige ûnrêstich en ûnwis tiidrek hie in groulik beslút krigen. It fers libbet troch syn kompakt steapeljen fan bylden. It sit grôtfol symboalen. De Styks út de Grykske mytology wie de wichtichste rivier fan ’e ûnderwrâld en rûn dêr sân kear om hinne. Yn de Noarske mytology sleept it úteinlike lot fan ’e goaden (ragna-rök) de wrâld mei, dy’t dan ûnder giet. No’t de wrâldbeam omslein is, komt de doem ûnmijber. Mar likefolle as de ynhâld wurkje de stylmiddels meiinoar op om de benearjende sfear del te setten. De koarte frasen en brutsen rigelkes fersterkje it ferfrjemdzjend effekt fan de homonymrym doarren ta~fertoarren ta. It fynmazich reach fan binnenrym—faak froulik, wrâld-esk~wraggelt, hoarte~poarte, lykas Sybesma yn ’e sonnetten en Poe yn ‘The raven’—en alliteraasje en it warjen fan fersierende wurden, en sels skrassen fan wurden dy’t grammatikaal needsaaklik binne, lûke it fers potticht.\nLytsskalige styleksperiminten tendearje lykwols nei ferlern gean yn de Fryske iver om braaf-lanlike sfearen mei in sentimintele, nostalgyske ‘ik’ te kanonisearjen, lykas ‘Sa âld te wurden…’\nSá âld te wurden, yn de jûnpetearen\nfan ’t geafolk jin te jaan en alle weet\nte hawwen fan har wize en rûge mearen,\nde Spoekesingel en de Muontsereed\nte kennen mei har spoaren, kûlen, bochten,\nyn mimer toevje foar in kâld hússteed\nYn ritme, rym en enjambemint dat it Nederlânske hardersdicht wjerspegelet komt ‘It hart’:\nPinsiele tsjin de snie dyn silhûet?\nMoatst al te lang bedimje dyn ferlet\nEn ’t krappe leger mei de hûnger diele,\nOf hawwe driften, nimmen ea bekend,\nDy warleas nei de rûnte mend?\nIt is absolút frij fan lek en brek. It is sa byldzjend, mei de prachtich fûne “haffeljende blibben”, dat de muskusrook fan it bist jo yn ’e noasters krûpt. Mar it oerdreaune berop op ús gefoel, troch de twa fraachtekens sa ticht byinoar en it melodramatyske oansetten fan “nimmen” mei “ea”, skeint de skjintme dy’t jo yn it moed treffe moat. Ek is ús estetyske kontekst feroare; tsjintwurdige lêzers ha Bambi sjoen. Hoe dan ek, in sinteklaasdicht foar kollegadichter Jan Wybenga ferlit Fryslân en it klassike metrum, mar net de lûdharmonyen dy’t Tamminga hieltyd wer ynspirearje. Dat leveret in juwieltsje fan in puntdicht op, dat hielendal mei rjocht opnommen is tusken de lyryk yn de bondel Floedmerk.\npyt hat de p yn\ndit is de skoarstien\nnet troch te kommen\nfiks oan ’e langte, us?\nBISKOPPEN ROSSE FOARBY\np is der by\nyn ’e p\nDat soart iepen fersrigels is in fernijing yn Fryslân. Allinne Obe Postma brûkte de natuerlike praattaal en J.D. de Jong keas foar de kompleksiteit fan wikseljende mjitte en rigellingte en net-bûn lûd. Dochs foldiene Tamminga blykber de oanrinnen ta it frije fers net. It liket derop dat it ferlies dat der by him steefêst oan komt, en dat gjin romantyske natuerlike of organyske fergonklikens is, mar earder it gefolch fan it minsklik destruktyf-wêzen, ynbûn moat yn foarm; hjir is gjin formalisme om ’e nocht.\nNoch rinne wraggeljende en yn ferfal\nRûmmantelige memmen dizze paden.\nBleatskonke tennisfammen komme neigeraden\nEn boartsje – mar hoe lang noch? – heinebal.\nNoch is it formalisme stiif as út in ballade/sonnetgenerator lutsen; foarm foeget him nei de keunst, lykas by in skulptuer ís foarm betsjutting. In pylderhillige leit ús syn fraach foar yn sonnetfoarm: “Ik groef my yn, ik libbe mei de dieren,/ Ik feste en ’k waard myn eigen silhûet.” Mar wylst it sonnet as wenst—Shakespeare, Poe—yn in (slot)kûplet mei it antwurd komt, is hjir alle kûpletfoarming út de wei gien en dêrmei liket de sprekker in oplossing fan tafel te feien as noflik, skynhillich. “Mar ’k sjoch as oer it libben ik my niich,/ Myn eigen minsklikheid en swij beskamme.” Hoe ynkringend ek, de sonnetten dogge faak wat ad hoc oan. Mooglik befalt it sykluseftige wurk him better. Yn ’68 ferskynt In memoriam, foar Tamminga syn fierste ier ferstoarne iennichste soan.\nsyn leave namme rop it tsjin de brekkers,\nhy hat jim kend o ivige skombrekkers,\njou my beskie, skodkopje net fan nee:\nis hjir yn wetter, ljocht en wyngetwir\nyn dizze weagen hat hy stoeid en geid,\nde brâning kletsend tsjin syn geve ribben,\nhjir boarte er yn it brûs en like it libben\n“Ik rop syn namme”; fan de nije ekstreme ûnderfingen fertelt de dichter yn notiid, live, wylst er by de plakken lâns giet dêr’t er mei syn jonge west hat. It ankerjen fan ús oantinkens yn it lânskip is, sa’t de withoefolle geografyske metafoaren foar rou en drôvenis sjen litte, net in betocht ritueel mar in gewoane minsklike reaksje: ien dy’t folle mear as metafoarysk is. Wy kaderje ús rouûnderfiningen yn detailearre topografy fan betsjuttingsfolle romtes en hannelingen yn. Nei de simmersee rinne wy by de feart lâns, it alâlde slachje om, dêr’t “’t fotteljen waard trêdzjen linkenoan”. De heit betrapet himsels net iens mear op sykjen, dat wit er al, en ek dat er him dêr likemin fine sil, “elk omsjen is fergees”. Hy sil inkeld leechte hearre.\ndeselde nachtloft speeg’let yn ’e feart\nElk fan de fjirtjin kuiers is ien lange meanderjende, elliptyske sin dy’t op in raffinearre manier de sêne likegoed as it gefoel beskriuwt. It byld fan de inisjalen dy’t de soan skraste yn it skeppefiem, wylst se “as maten, freonen” op “simmerige sneonen” de tún te liif giene, glidet oer yn “dat wat it bejoech” en dêrta “behearre ek de tekens hjir ynkarne;/ och eltse letter is in neil, in toarne”. De slûpende, diffuze pine twingt ta lytse beweginkjes. It haadletterjen dat by de IM-stanza (fan Tennyson) hearde, soe dit gemis te materieel meitsje en is weilitten, en de kwatrinen kinne net op IM-wize strofysk, want dit fertriet komt net yn kreaze blokjes. It tige regelmjittich trochgeand massyf patroan dat sa ûntstiet, fan 20 pentameter-rigels yn krús- of ynsletten rym, liket werom te gean op it lândicht. Men nimt oan dat lândichten ús prehistoaryske, basale dichtfoarm binne, grotskilderijen yn taal, sadat it nea de foarkar fan de prúkpoëten hie. It echoot it ûnderfinen fan it folk, sa’t Homearos die: in allinnichspraak fan in rekke sprekker, sûnder filosofyen en boppenatuerkunde, of faunen, nimfen, of Noarske mytology en, gek genôch, sûnder ús deugden en ûndeugden te neamen.\nOars formulearre, al stapt de dichter bûtendoar, dat bliuwt sûnder sosjaal of polityk gefolch. It kin net oars as de kuiers barre yn syn holle, oer en oer en oer.\nWinige jûn: en longerjend nei rêst\nhear ik as doe syn keamersfinster klappen;\nnachtlûden, beamgerûs en ’t swypkjend flappen\nfan ’t flagetou ientoanich tsjin de mêst;\nDe bonkjende rym klappen~swypkjend flappen bringt Poe syn binnenrym dreary~weary, napping~tapping yn ’t sin. It ferskil is, dat de ‘ik’ hjir net ferlost wurde wol fan it tinken oan syn geleafde deade, mar dat just opsiket.\nSjoch hoe’t de kikkertsleat bylâns it spoar\noerizele tenacht mei nulle en spjelde;\ntroch wytberime lân en as wy opsochten\nde fierten fan ien sin en fan ien slach\nDe wurdomkearing “opsochten de fierten” skept in gefoel fan earlikheid. De dichter stiet hakkelich stil by wat er opropt en wrot yn it ûnthâld om hoe mear klearens te jaan. Tagelyk falt komselden de frase, dêr’t in sprekker natuerlikerwize nei skoftet, gear mei de fersrigel. De enjambeminten meitsje dat de dichter syn gedachtestream net ûnderbrutsen wurdt. Se bringe in grutte driuwende krêft; dy’t lykwols wreed ferrinne kin. Dan manifestearret it rigelein him as it ymminse gat dat slein is: “sa’t hy fergiet dy’t hjir no ûndersnijd/ leit”. Treffend is hoe’t it symboal fan ûnderweis wêzen, dat hieltyd opdûkt yn Tamminga syn oeuvre, yn In memoriam fersteurd is. Want faak is de kwintessens út it begjin fan it fers werhelle oan it slot derfan, “neisimmerrite” as “neisimmerlân”, of “oerizele” as “beferzen”, wat mar in skym fan dynamyk jout: it fers is in sirkelgong fan rou.\nDe doffe jambe neilet de retoryk fan de utering krêftich fêst, sadat wy de ûnûntkomberens fiele. Wurden en frasen beskoattelje har, wylst it ritme it fers fierder triuwt, mei it gearfallen fan it wurdlid dat yn de poëtyske foet klam krijt en de wurdlidden mei de essinsjele betsjutting: “ferside yn syn simmergriene terp/ (…) it jout gjin treast, want skerp, o flimich skerp”. Geregeldwei bestiet ritmyske oertsjûging just út antymetry, troch mei it beklamme wurdlid yn te setten, eventueel nei in pynlike sesuer: “hoe soe ik oars as sykje it by de deade/ yn dizze wite wrâld, hoe soe ik oars?” Neat is oan it tafal oerlitten. De ienfâld is sa ferrifeljend dat de lêzer likemin as de dichter tinkt oan de grins fan realisme, it besef fan it ûnsisbere en de ûnmooglikheid om de dingen te beneamen sa’t se echt wiene.\nDe kleau tusken de poëtyske en de echte werklikens krijt op in prachtige manier iroanysk stal as de soan syn boekeplank de dichter ferdútst hokker “wrâlden” oft de jonge binnengie: “sjoch hjir de Ilias, mei ezelsearen,/ sjoch Philoktetes, skibbich yn dyn hân”. It oare fers fiert de dichter nei poëzy ta dy’t net “dije [koe] yn ’e maaierein”: it neilitten “ûnbedreaune” dichtsjen fan syn soan.\nen ûnder ’t lêzen, troch de rigels hinne,\nkrij ik fòàr my itjinge er skreaun ha soe,\nhie de Dea him net roofd en yn besit\nDe Dea is lykwols net allegoarysk yn de fersen fan syn heit. De dichter hat gjin heger boadskip foar de taharker. Inkeld freget er by de ôfsluting fan de syklus noch oan “dit grêf”, syn soan, om him bitterheid te ferbieden: “dan sil dit libben, no’t wy fierder moatte/ mear wêze as idel wachtsjen op de dea.”\nWat de lêzer troch de tragyske fisy yn de gedichten en it soms makabere lânskip—“soe wat fergie en wat de maitsen ieten/ herrize”—hinne skuort, is de kombinaasje fan de moaie ienfâldige taal sûnder argayske wurden of keunststikjes en de komplekse bespegeljende tropes. Dêryn stiet net de metafysika út it iere lyryske en lettere psalmewurk sintraal, want “wa wit? wa wit? wy witte fan de wrede/ fertwiivling fan gemis en fan ûnfrede”. De minske blykt de mjitte fan ’e dingen, om’t er him, dom of ferstannich, allinne ferlitte kin op syn sintugen. Dêr komt de krêft fan de fersen wei. “dat feintepraat yn ’t lêst, de klap op ’t skouder/ nea wie er neier my en nea fertrouder …”


-genre_facet:"periodicals" -genre_facet:"Domestic fiction" -topic_facet:"Race in literature" -geographic_facet:"Guantánamo Bay Naval Base" -geographic_facet:"Europe, Western" -era_facet:"1952-" -author_facet:"United States. Bureau of Justice Statistics"\nClear Filter NOT Genre: periodicals Clear Filter NOT Genre: Domestic fiction Clear Filter NOT Subject: Race in literature Clear Filter NOT Region: Guantánamo Bay Naval Base Clear Filter NOT Region: Europe, Western Clear Filter NOT Era: 1952- Clear Filter NOT Author: United States. Bureau of Justice Statistics


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Berne: 09-07-1956, Snits\nThys Wadman groeide op yn Snits, as soan fan Anne Wadman en Hylkje Goïnga. Hy folge de Pedagogyske Akademy yn Snits en wurket sûnt 1979 yn it basisûnderwiis. Fan 1986 ôf wie er haad fan de iepenbiere basisskoalle yn Koudum, no yn Nijhoarne. Foardat er mei skriuwen begûn wie er muzikaal aktyf as sellist yn salonorkest 'Plumeau' en as drummer yn de Frysktalige groep 'Jarje'. Letter waard er dat yn de Koudumer band 'Cajun Beano'.


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