Uploaded January 2015 | Updated September 2026, 2 weeks ago
Here's a virtual movie of the 12th Century Persian Poet and Mystic Rumi reading his much loved philosophical Poem "The Guest House" This reading ends part way into the poem,but encapsulates the essential meaning of the poem - To always endeavor to Keep an open and welcoming heart"
Jalāl ad-Dīn Muhammad Rūmī (Persian: جلالالدین محمد رومی), also known as Jalāl ad-Dīn Muhammad Balkhī (جلالالدین محمد بلخى), Mawlānā (مولانا, "our master"), Mevlânâ, Mevlevî (مولوی Mawlawī, "my master"), and more popularly simply as Rūmī (1207 – 17 December 1273), was a 13th-century Persian[1][8] poet, jurist, Islamic scholar, theologian, and Sufi mystic.[9] Rumi's influence transcends national borders and ethnic divisions: Iranians, Tajiks, Turkish, Greeks, Pashtuns, other Central Asian Muslims, and the Muslims of South Asia have greatly appreciated his spiritual legacy for the past seven centuries.[10] His poems have been widely translated into many of the world's languages and transposed into various formats. Rumi has been described as the "most popular poet"[11] and the "best selling poet" in the United States.[12][13]
Rumi's works are written mostly in Persian, but occasionally he also used Greek,[14][15][16] Arabic, and Turkish in his verse.[17][18] His Mathnawī, composed in Konya, remains one of the purest literary glories of the Persian language.[19][20] His works are widely read today in their original language across Greater Iran and the Persian-speaking world.[21] Translations of his works are very popular, most notably in Turkey, Azerbaijan, the United States, and South Asia.[22] His poetry has influenced Persian literature, but also Turkish, Punjabi, Hindi, and Urdu, as well as the literature of some other Turkic, Iranian, and Indo-Aryan languages including Chagatai, Pashto, and Bengali.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015
Here's a virtual movie of the 12th Century Persian Poet and Mystic Rumi reading his much loved philosophical Poem "The Guest House" This reading ends part way into the poem,but encapsulates the essential meaning of the poem - To always endeavor to Keep an open and welcoming heart"
Jalāl ad-Dīn Muhammad Rūmī (Persian: جلالالدین محمد رومی), also known as Jalāl ad-Dīn Muhammad Balkhī (جلالالدین محمد بلخى), Mawlānā (مولانا, "our master"), Mevlânâ, Mevlevî (مولوی Mawlawī, "my master"), and more popularly simply as Rūmī (1207 – 17 December 1273), was a 13th-century Persian[1][8] poet, jurist, Islamic scholar, theologian, and Sufi mystic.[9] Rumi's influence transcends national borders and ethnic divisions: Iranians, Tajiks, Turkish, Greeks, Pashtuns, other Central Asian Muslims, and the Muslims of South Asia have greatly appreciated his spiritual legacy for the past seven centuries.[10] His poems have been widely translated into many of the world's languages and transposed into various formats. Rumi has been described as the "most popular poet"[11] and the "best selling poet" in the United States.[12][13]
Rumi's works are written mostly in Persian, but occasionally he also used Greek,[14][15][16] Arabic, and Turkish in his verse.[17][18] His Mathnawī, composed in Konya, remains one of the purest literary glories of the Persian language.[19][20] His works are widely read today in their original language across Greater Iran and the Persian-speaking world.[21] Translations of his works are very popular, most notably in Turkey, Azerbaijan, the United States, and South Asia.[22] His poetry has influenced Persian literature, but also Turkish, Punjabi, Hindi, and Urdu, as well as the literature of some other Turkic, Iranian, and Indo-Aryan languages including Chagatai, Pashto, and Bengali.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015
![The Irish Question - George Bernard Shaw - Literary animation
Heres a virtual movie of the great George Bernard Shaw reading from his 1934 essay 1916 Rising John Bull’s Other Island which gave a critical appraisal of the Easter Rising of 1916 . The voice of George Bernard Shaw on this video was recorded by the late celebrated Australian/Irish actor and historian Peter Oshaughnessy (1923 - 2013).
1916 Rising (Appendix to Preface of John Bull’s Other Island [1906], 1929): ‘[T]he sequel to these events confirmed my unheeded warning with a sanguinary completely of which I had no prevision. At Easter 1916 a handful of Irishmen seized the Dublin Post Office and proclaimed an Irish Republic, with one of their number, a schoolmaster named Pearse, as President. If all Ireland had risen at this gesture it would have been a serious matter for England, then up to her neck in the war against the Central Empires. But there was no response: the gesture was a complete failure. All that was necessary was to blockade the Post Office until its microcosmic republic was starved out and made ridiculous. What actually happened would be incredible if there were not so many living witnesses of it. […] Thus by fire and bullet, murder and torture and devastation, a situation was produced in which the British Government [470] had either to capitulate at the cost of a far more complete concession of self-government to Ireland than that decreed by the repudiated Home Rule Act, or to let loose the military strength of England in a Cromwellian reconquest, massacre, and replantation which it knew that public opinion in England and America would not tolerate; for some of the most conspicuous English champions of Ulster warned the Government that they could stand no more of the Black and Tan terrorism. And so we settled the Irish Question, not as civilised and reasonable men should have settled it, but as dogs settle a dispute over a bone.’ (Complete Prefaces, London 1934, pp.470-71.)
Kind Regards
Jim Clark
All rights are reserved onn this video recording copyright Jim Clark 2016 The Irish Question - George Bernard Shaw - Literary animation](https://i.ytimg.com/vi/V8XxKTdlmvI/mqdefault.jpg)


![How it is By Samuel Beckett - Poem - animation
Heres a virtual movie of a mindblowing literary piece from the very great Samuel Beckett How it is Like a lot of Beckett explanation of the piece is not easy,but as far I can glean its the lightning fast manic terrifying thoughts of a man stuck in the mud,perhaps a swamp,hence the image I have used in in my virtual movie of a model of a mans face in mud made by means of a plaster cast. The definitive almost superhuman recital is by the late great Scottish actor Nicol Williamson.
How It Is is a novel by Samuel Beckett first published in French as Comment cest by Les Editions de Minuit in 1961. The Grove Press (New York) published Becketts English translation in 1964. An advance text of his English translation of the third part appeared in the 1962 issue of the Australian literary journal, Arna.[1]
LImage, an early variant version of Comment cest, was published in the British arts review, X: A Quarterly Review (1959), and is the first appearance of the novel in any form.[2]
The novel is a monologue by the narrator as he crawls through endless mud, recalling his life separated into three distinct periods.
The title is Becketts literal translation of the French phrase, comment cest (how it is), a pun on the French verb commencer or to begin.
The text is divided into three parts:
1. before Pim - the solitary narrator journeys in the mud-dark until he encounters another creature like himself thereby forming a couple.
2. with Pim - the narrator is motionless in the mud-dark until he is abandoned by Pim.
3. after Pim - the narrator returns to his earlier solitude but without motion in the mud-dark.
In a letter (April 6, 1960) to Donald McWhinnie at BBC Radio Drama, Beckett explained his strange text as the product of a man lying panting in the mud and dark murmuring his life as he hears it obscurely uttered by a voice inside him... The noise of his panting fills his ears and it is only when this abates that he can catch and murmur forth a fragment of what is being stated within... It is in the third part that occurs the so-called voice quaqua, its interiorisation and murmuring forth when the panting stops. That is to say the I is from the outset in the third part and the first and second, though stated as heard in the present, already over.
Samuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.
Beckett is widely regarded as among the most influential writers of the 20th century.[2] He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the Theatre of the Absurd. His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation.[3] He was elected Saoi of Aosdána in 1984
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2014 How it is By Samuel Beckett - Poem - animation](https://i.ytimg.com/vi/W4B_25sPhdk/mqdefault.jpg)




![When Lilacs Last in the Dooryard Bloom’d - Walt Whitman - Poem - Animation
Heres the great Walt Whitman reading When Lilacs Last in the Dooryard Bloom’d.
When Lilacs Last in the Dooryard Bloomd is a long poem in the form of an elegy written by American poet Walt Whitman (1819–1892) in 1865. It is a 207-line poem written in free verse and employing many of the devices and conceits of the pastoral elegy. The poem was written in the Summer of 1865 during a period of profound national mourning in the aftermath of the assassination of President Abraham Lincoln on April 14, 1865. Despite the poem being an elegy to the fallen president, Whitman neither mentions Lincoln by name nor discusses the circumstances of his death. Instead, Whitman uses a series of rural and natural imagery including the symbols of the lilacs, a drooping star in the western sky (Venus), and the hermit thrush, and employs the traditional progression of the pastoral elegy in moving from grief toward an acceptance and knowledge of death. The poem also addresses the pity of war through imagery vaguely referencing the American Civil War (1861–1865) which ended only days before the assassination.
When Lilacs Last in the Dooryard Bloomd was written ten years after publishing the first edition of Leaves of Grass (1855) and it reflects a maturing of Whitmans poetic vision from a drama of identity and romantic exuberance that has been tempered by his emotional experience of the American Civil War. Whitman included the poem as part of a quickly-written sequel to a collection of poems addressing the war that was being printed at the time of Lincolns death. These poems, collected under the title Drum-Taps and Sequel to Drum-Taps, range in emotional context from excitement to woe, from distant observation to engagement, from belief to resignation and more concerned with history than the self, more aware of the precariousness of Americas present and future than of its expansive promise.[1] First published in Autumn 1865, When Lilacs Last in the Dooryard Bloomd—along with 42 other poems from Drum-Taps and Sequel to Drum Taps—was absorbed into Leaves of Grass beginning with the fourth edition published in 1867.
Although Whitman did not consider the poem to be among his best works, it is compared in both effect and quality to several masterpieces of English literature, including elegies such as John Milton s Lycidas (1637) and Percy Bysshe Shelley s Adonais (1821).
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015 When Lilacs Last in the Dooryard Bloom’d - Walt Whitman - Poem - Animation](https://i.ytimg.com/vi/Yznjn7C1WG4/mqdefault.jpg)

