View allAll Photos Tagged 113
I watched "How to stay young" on TV, the other day, and this pulse starch was recommended, so thought I would give it a go.
I am losing weight, but have also upped and changed my exercise routine, so not sure what is working.
It was a nice, warm afternoon, so I decided to grab my camera and photograph a few people.
I saw Cathy as she was out doing some shopping, and I approached her about taking a picture. She had a good attitude about the whole thing, so I snapped 2 pictures, gave her my card, and we went about our separate ways.
Thank you, Cathy.
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This is pic #113 in my project. Find out more about the project and see pictures taken by other photographers at www.100Strangers.com
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22 avril 2016
Delta
A Châtelaillon-Plage, la marée descendante révèle les chemins multiples et sinueux que crée et emprunte l'océan pour s'écouler.
Day 113/365 Comments/feedback welcomed.
Catching up after being away on holiday for a week. I shot my 365 image every day of course just need to edit and upload them. I got into a good groove of shooting every morning while the hotel was quiet before breakfast.
Strobist:
speedlight - shoothrough umbrella (broken on day 111) 1/4 cto R
rising sun - R
iso100,50mm,f/2.2,1/200
Literary Analysis
The choice of Psalm 113 as the introductory “Hallelujah” psalm in the Hallel Service of the prayer book was obviously dictated by the realization that this psalm is the paradigm for all Hallelujah psalms. It opens with a command or invitation to the worshipers, “the servants of the Lord,” to give praise to the Lord and proceeds with several examples of the Lord's majesty and goodness. The worshipers are enjoined to praise the Name of the Lord, His glorious manifestation among mankind. This call to praise the Lord is rendered in a stirring sequence of rhythms and repetitions suggesting a public invitation to prayer. The second verse, “Let the Name of the Lord be blessed now and forever,” is well-known as the response to the opening invitation to praise of the Lord in The Grace After Meals (Birkat hamazon). Its antiphonal usage may, indeed, have its roots in the original psalmic tradition.
The psalm turns to the omnipresence of the Lord's Name, His reputation generated by the manifestations of his deeds; it embraces the earth from the place of sunrise to that of sunset, both crucial acts of nature controlled by the Lord. Moreover, just as He “is exalted above all nations, “His glory is above the heavens.” The psalmist moves subtly here from the outward manifestation of the Lord's majesty to His transcendence above nature, even above the heavens. The uniqueness of the Lord is reaffirmed in verses 5 and 6 which comprise the heart of the psalm, the wonder of this God who is so transcendentally exalted, yet concerned with what happens among mankind below on earth. The combination of these two polar opposites are bound in sound by the seemingly rhymed, archaized suffixes: "hamagbihi" (who sits on high) in v. 5 with “hamashpili” (he who sees below) in v. 6.
The high/low contrast is continued in the next two verses in “mekimi” (He raises) and “moshivi” (He sets on high): the Lord, through His power and benevolence, raises the poor and the needy, He sets them with the great men of His people.” Verses 7 and 8 form an exquisite cluster of correspondences and parallels. “Mekimi” (He raises) in v. 7 corresponds to lehoshivi (to set them) in v. 8 in both meaning and sound. Within each of these two verses, the second part of the verse echoes its first part so that v, 8 also echoes v. 7. Their use of repeated prepositions is balanced: in v, 7 we have the “mi” (from ) twice while in v. 8 we find two instances of “im” (with) in precisely the same position of the sentence as in v. 8.
These two verses, 7 and 8, surprisingly prepare us for verse 9, since all three verses echoes verses from the second chapter of Samuel I, the prayer of thanksgiving Hannah sings when the Lord frees her from her childlessness by granting her a child, the prophet Samuel. Though the names are absent from verse 9, the psalmist and his audience could not miss the reference to this classical instance of God's power and mercy in setting (again “moshive”) “the childless woman (akara) amid her household as a happy mother of children.” The help the Lord extends to childless women is as old as Sarah and Abraham in Genesis. This Hallelujah psalm thus ends climactically with a well-known example, both from real life and literature, that all worshipers can identify with. The repeated use of the archaized form of these adjectives marks them as significant epithets of the Lord; these attributes add details to the characterization of His Name. In both theme and its execution, this psalm is obviously the quintessence of psalmic expression, hence richly deserving of its place as the first psalm of the traditional Hallel Service of the Prayer Book.