THE ICONS OF THE HOLY TRINITY

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Holy Trinity by Andrey Rublev

Unknown Author, Holy Trinity Icon

Images I am liking tonight

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Photo: Three flowers in the egg shaped vase

Reflections, Hallucinations or Just a Dream?

Simple Graphic Image of Russian Model

Love Triangle With Passion, Adultery, Rebellion and a Village Idiot

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“Ryan’s Daughter” is a love story that evolves into a love triangle set in the epic splendor of an isolated village on Ireland’s scenic Dingle Peninsula. Like all love triangles, it ends in a disaster that becomes a tragedy.

Rosy Ryan (Sarah Miles) seeks to find that certain something that is missing in her life and thinks she finds it when she announces her love for her former schoolteacher, Charles Shaughnessy (Robert Mitchum), who is old enough to be her father.

Unfortunately for Rosy, her marriage brings her love but not passion. It is passion she finds when she meets and instantly falls into the arms of Major Randolph Doryan (Christopher Jones), a young British officer assigned to the village.

Major Doryan is a World War I hero who ends up in the village as part of the British occupation while the war continues on in Europe. The villagers resent the British presence and will jump at a chance to fight for their freedom.

Tim O’Leary (Barry Foster) leads a resistance force that awaits the arrival of German weapons so they can finally arm and defend themselves against the British takeover.

The villagers become aware of Rosy’s infidelity through the village idiot Michael (John Mills) who is mute and considered a half-wit, but Michael is clever enough to steal away the major’s uniform and medal while he is busy making love to Rosy in a secluded island cave.

Michael adores Rosy but instinctively knows he has no chance. He feels a kinship with Major Doryan as they both suffer from profound limps. Both the limp and shell shock are from Doryan’s war injuries.

Tom Ryan (Leo McKern) is Rosy’s father and owner of the local pub. He is a big freedom talker who is taken at his word to be a freedom fighter by the rebel leader O’Leary, who leans on him for support in gathering up the German weapons that are dropped off at sea and floating to shore.

You just have to see the storm scene, huge waves are crashing against the rocky shore while villagers are scrambling to recover broken boxes of rifles, bullets and dynamite.

When the rebels seek to haul off the weapons stash, they are met by British soldiers who have been tipped off by Tom Ryan. O’Leary is shot by Major Doryan and captured while trying to escape. It is assumed he will be hung for leading the rebellion.

Once exposed, the villagers consider the unfaithful Rosy to be the “British officer’s whore” as well as a disloyal and dishonorable informant when in fact it is her father. Ryan, whose wife has died, has spoiled his daughter growing up, and it is he who is the silent informer for the British that is never exposed, even when he has an opportunity to save his daughter from harm.

The villagers become a mob and eventually beat up Rosy’s husband Charles, strip Rosy naked and cut off her lovely long hair. This is apparently the ultimate disgrace in an Irish village, being ostracized and then humiliated.

Major Doryan ends up on the beach with Michael who has recovered some dynamite. When Doryan realizes his affair with Rosy is over, he uses the dynamite to commit suicide.

Rosy’s husband is aware of her adultery but hopes it will run its course, and he will be there when it is over. When he finds he is unable to handle it, he decides to leave Rosy. They both know that they must leave the village and are led out of town by Father Collins (Trevor Howard), the Catholic priest.

Director David Lean had to wait a year before a storm dramatic enough appeared on the Atlantic Ocean to film the weapons recovery scene. This turned into a masterpiece of filming by Freddie Young who won an Oscar for his effort.

Cinematographer Freddie Young captures the raw beauty of Ireland with its ocean cliffs, green countryside, lazy pastures and hidden forest love nest. Young shot the film entirely in a 65mm widescreen format and in Super Panavision. It was the last such film shot until 22 years later when Ron Howard filmed “Far and Away” in 1992.

The storm scene is nothing short of spectacular as well as real. Leo McKern (as Rosy’s father Tom) was injured and badly shaken up while filming the storm sequence and nearly drowned. McKern was so upset he vowed never to act again and did not for several years.

The film includes a passionate love scene between Major Doryan and Rosy who was partially exposed (pretty hot for a film released in 1970). In addition to Young’s Oscar, John Mills won an Oscar as Best Supporting Actor for his role as the mute half-wit. Mills bowed at the Academy Awards ceremony when receiving his Oscar and said nothing in the shortest acceptance speech in Oscar history.

Sarah Miles received an Oscar nomination for Best Actress and the film earned another nomination for Best Sound.

Mills also won the Golden Globe for Best Supporting Actor. Sarah Miles (Best Actress) and Trevor Howard (Best Supporting Actor) won Golden Globe nominations.

A lot of critics at the time were not kind to David Lean as director of Ryan’s Daughter. Lean was no slouch. He earned two Best Director Oscars for “The Bridge on the River Kwai
” and “Lawrence of Arabia”.

Lean was also nominated for a Best Director Oscar for “Doctor Zhivago” which won 5 Oscars and had 4 other nominations. Robert Bolt wrote Doctor Zhivago as well as Ryan’s Daughter and “A Man for All Seasons”. Bolt was twice married to Sarah Miles.

Lean would outperform his critics. He was voted the 9th greatest film director of all time in the BFI (British Film Institute) “Directors Top Directors” poll in 2002.

Ryan’s Daughter is a slow developing romance. The film runs for 3 hours and 16 minutes. Like almost all of Lean’s films, Ryan’s Daughter was hugely popular with moviegoers and movie lovers alike.

Ryan’s Daughter is a story about relationships and an epic film worth watching.

The Mrs. Robinson Trading System or Forex Triads

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Some traders are content with a trading method that only takes one type of strategy, but this doesn’t make sense if you want to make the most of the Forex market - or any market, for that matter. If the market isn’t always going in one direction, why have a system that only trades one direction?

The Forex Triad trading system was developed by Jason Fielder through what he termed as observations, combined knowledge from investing, and common sense. This system was formed with a common sense question: how can you make money off a system that isn’t applicable (or is wrong for the market) literally 2/3 of the time?

Basically, the market is always doing one of three things, and only one of three things. The market is either:
1. Trending
2. Counter-trending
3. Breaking out

That’s it. Those are the only three patterns that the Forex market can be in, and the market will always be in one of these three states. So how can a breakout method be profitable when the market wasn’t usually breaking out? Same for trend and counter-trend. Jason Fielder wasn’t the only one who thought this, as several Forex trading systems try to be “adaptable,” having various technical trading strategies set up so that when the market goes a certain way you know what to do.

There are several different Forex trading systems that now have multiple strategies for trading, all based on how the market is moving. The Triad Trading Formula was the system developed by Jason Fielder to adapt to the market.

A portfolio is something every trader and investor knows about. Spread the eggs around so the collapse of one market (see Enron) doesn’t wipe you out. So if that is commonly held as wise practice, why was everyone trying to find a single way to trade the Forex? Part of the reason for this might be that it’s easier to teach a trading strategy that only has to deal with one part of the market. Unfortunately, that’s not practical in a real life situation.

The Triad Formula of trading is a portfolio of strategies that gives a trader the tools to always be making money in the market, whether the market is trending, counter-trending, or entering a breakout.

This way, no matter what the market is doing, there’s a strategy that can be used to profit. In theory, this will allow you the steady and impressive profits that you’ve been yearning for all along, with as much security as can be found in the Forex market.

THOMAS WRIGHT “The rule of three”.

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History A gifted historical novelist struggles to unify this account of Leonardo, Machiavelli and a Borgia The Artist, the Philosopher and the Warrior By Paul Strathern Cape Pounds 25

In June 1502, Cesare Borgia, son of the infamous Pope Alexander VI, captured Urbino with a characteristically audacious stratagem: he announced that its Duke was dead (which was a lie), and installed himself in the dukes palace. Cesare was attempting to conquer the whole of the Romagna, which stretched from Bologna to Ancona. His exploits during the military campaign were, according to the young diplomat Niccol Machiavelli, accompanied by a unique good fortune, as well as superhuman daring and confidence that he can achieve what he wants.

Machiavelli had been despatched by the government of his native Florence, on whose lands the Popes son was trespassing. You must pledge to support me, Cesare told him, If you do not want me as a friend, you will find me your enemy. Borgia had powerful allies (his father and the King of France) and Machiavelli had been instructed to appease him. As part of his charm offensive, he offered Cesare the services of the celebrated Florentine military engineer, and myriad-minded Renaissance genius, Leonardo da Vinci.

Borgia enthusiastically enlisted Leonardo as the technical guru of his military operations. Meanwhile, Machiavelli was instructed to keep a watchful eye on Cesare during what was to be a triumphant Romagnian crusade. So it was that the artist (Leonardo), the philosopher (Machiavelli) and the warrior (Borgia) of the title of Paul Stratherns interesting but flawed book, passed the autumn and winter months of 1502-3 together, talking and scheming their way across the Romagna, as city after city fell to Cesare.

Strathern deftly interweaves the narratives of his three main characters and successfully evokes their odyssey, drawing principally on Machiavellis dispatches, which offer a chorus-like commentary on the unfolding drama. It comes as no surprise to learn that Strathern is a prize-winning novelist, as he has a sensitive ear for memorable phrases and a keen eye for striking detail. With considerable panache he serves up the scenes of murder, pillage, treachery and hedonistic excess with which the name of Borgia has become synonymous, and, in crisp and elegant prose, he explains the intricacies of 16th-century diplomacy, and keeps us up with all the entertaining court gossip.

Such, indeed, is Stratherns flair for vivid description and snappy dialogue that you cant help wishing, as you get a little way into this book, that he had written it as a novel. That reflection is also prompted by a consideration of the meagre historical evidence that has survived from the Romagna campaign, and of the way the author uses it. In a bid to cover up the gaps in the record he is often forced to stretch his flimsy facts to breaking point and sometimes they snap.

For example, while he cautiously tells us on page 112 that Leonardos notebooks contain three sketches that are widely thought to be of Borgia, only a few pages later he confidently cites them as evidence of Cesares brooding character. By page 317 his confidence has become certainty: he imagines Da Vinci drawing those three portrait sketches of Borgia as he lay stretched out in his chair before the fire, before going on to deduce from them the artists attitude to his master and to the evil nature of men in general.

Strathern frequently tries to flesh out the indistinct historical outline with this sort of pseudo-psychoanalytical speculation. Throughout, he recklessly attempts to decipher Leonardos intimate thoughts and private feelings from his notoriously cryptic notebooks. The very precision, he claims of certain notebook entries, can be read as evidence of the repression of tumultuous emotion. Given Sigmund Freuds spectacularly poor record on Leonardo much of his famous analysis of the artists life and the work is demonstrably wrong the author should perhaps have taken him as a warning rather than as a model.

It leaves you wishing that Strathern had gone the whole hog and invented imaginary conversations. The fictional form would have allowed him to shape his narrative, which is unwieldy, over-long and often loses its momentum. There are too many extraneous and unconnected facts, and a number of repetitions of scenes (Machiavellis first encounter with Borgia), phrases and even of illustrations. A judicious edit would have made The Artist, The Philosopher and The Warrior a readable, though average, work of popular history; only a bold decision to cast it as fiction could have transformed it into something worthy of its gifted author.